 Alrighty, let's watch this in full. There is sound. Cool. I'll turn on that sound here. Actually, speaking of sound, there are a couple of things that are a bit tricky here. I like the ambient stuff and the steps all that's cool. I might argue that's maybe not the sound that makes some grass, but I like the eye. I like it. But then it just suddenly cuts out and then it cuts back in and then it cuts back out again and then the fall this seems like there's a bit of music in there and it cuts out and that's totally fine. And maybe some stars or something. I don't know. I hear like nighttime chirps. It feels almost daylight. I guess you can have a moon somewhere. But anyway, that's for the sound. I like that that's in there and it helps kind of mask just the sound coming in at the end with the lip sync, but I think it could be smooth out a bit, but I don't know if that's something you can do or you have the material there. So let me know in the email. Animation wise, I still feel, I can't have the same notes. I still feel this sudden acceleration in the root. I would still smooth that out a bit and it's just like a one frame offset. I don't know. It feels like you can also just kind of stray away from mechanics and kind of offset those legs a bit. They're ever so slightly pose the posey and even if it's not all the time, it's just like one of these, maybe this one. That's cool. I like the snappiness here. Tail has some good side rotation there. That's cool. It's good settle there like the head. Got some nice detail there. Some good side eye as it turns. That's a little bit snappy. That heck coming up. I think it's the shape going squishy here to bam into that and then it locks. There's anything in terms of like a controller here that you can soften that. I don't mind the head. The head goes up, but then they're still overlap and fall through in that and you can maybe push that even in the in the ears a bit more that they kind of a little overshoot there, but that neck area snaps to me. Bit hard. Ends a bit abruptly. I know that's the camera. The camera is a bit harsh. I would try to smooth out the camera. There's something at the end and I don't know if it's part of the body because I see it ease in. Maybe give that a couple more frames, but I like that the tail continues. It's a copier combination of that main control, maybe easing it a tiny bit more couple frames and also the camera easing in and even potentially overshooting a bit and reframing. I like that look that over there. And I like those extra steps it tries to take here. It's a lot of fun. I think one thing you can do is that it doesn't just slide. You have a little bit of lifting up here with this little rotation. Why is it a bit more complex there? And then potentially where are we here? Gets up like that. I don't mind this, but there's also, to me, I feel like there's not enough in the hip going on that will react to that move. And I wonder if that could be the pose you can have already at the beginning to be more offset and to not have that move here. Meaning that the horse ends here, but in that pose here in the in the legs. I think this is a bit, I don't mind the snappiness, but I wonder if this would just then stay. I would keep that here, but I mean, you might argue, maybe it's kind of pushes out as it goes over. It's not crazy. I mean, if you watch this in real time, you don't even notice it. Don't quite see it. I just kind of registered that ish, that area, but I don't know. I probably will keep that a bit lower and then, but it's fun. It's a fun turn. Nice big frames there. And then sound wise here. I like that you shape the mouth here sooner here by anticipation. I would probably, to be honest, push out a tiny bit more your butt head. Just a more, even a slight jaw opening and bigger here if you can. And even a slight head accent, just a bit bigger. Just a bit, just a bit. I remember your eyes. This also be fun to have a little bit of a twirly arc at the end. It's a bit one axis here. Nothing too crazy. Just a bit. Still see those eyes. I think we're getting a bit too low. You're cutting into half of the pupil. I'll keep that a bit lower, bring that, or the pupil up. It's a bit cutting. To me, it's like once you go past the halfway point, cutting off pupils here and ours with the lower that you get to be crazy. I do like the shapes there. Give it here. Maybe a bit higher. It's because we're so close to it. Yeah, I mean, that's kind of it. And then you have another shot here. Let's watch that one in full. It's definitely long like you said, but I really like it. I gotta say, I'm not sure if you want this to be visible if I post this online. So I'm going to blur this out. If I post this on YouTube, this won't be seen. I don't want to see your reference online, but it's really good. Even if you can see this if I blur this, it's really good. And I like it a lot. I don't know. I would say go for it. I mean, it's long, but I like, I mean, the thing what I would do is potentially have him a bit more over here, kind of try to re-grab him. Like this is more like looking around, a bit more active. And he realizes that he needs this, then he can calm down a bit. And that just a bit more active again in the chest and the head. And then I like that in your reference where you just kind of you push it in your arm, in your head, and then it gets a bit more intense. And then you can leave it where you turn into this and that and your performance is really, really good. So that way you have a bit more contrast. So it's not always moving. It's like the breakdown of the character, of moving, panicking, looking around. Come on, I need help. I need help realizing, wait, this is not good. And then it's just all in here holding the dog. And I think it's really cool. Great line, again, great reference. So yeah, I would say let's do it. And by let's do it, it's you. But I think it's really cool.