 Alrighty, as always, let's play this in full first. And as you mentioned in email, the close-up was removed just because the rig is just not quite there yet in terms of the facial performance for close-up. That's pretty cool though. I like your change of timing. I think the main thing I'm seeing now in this take is just that change through there. Even this, I would... I see how you have it from the reference, but if I look at this, the couple of things. I'd be careful with too much movement. These are ginormous feet as well. Clearly, I am not familiar enough with anatomy of these guys, but holy mackerel, it's a massive foot. But the main thing is that I'd be careful with rotating when you have movement in here. And it's right at the beginning, so it should be okay. I would still probably eliminate it just a little bit so that we feel there's a bit more weight on them. Again, it's right there, but I feel like my initial note was going to be deviating from the reference a bit. It feels ever so slightly off-balance where it could be on the chair. And I think for this, I would give it a bit more of a forward lean where we have that happening a bit more. Just a bit more over the feet. And you could potentially also tighten those toes to kind of show almost like a gripping idea. It does have a lot of... Maybe it's because we don't see the feet. Maybe I see these lines. I don't think they're super far back, but that's my only concern in this. It's also nice and fast, so it's not super long that it feels off-balance, but just ever so slightly. To me, it feels like at the very beginning as an anticipation before you go up, just leaning that guy forward a bit more, and then you can get up into this. And this is the other part. I'm going to be tricky if we don't see it, so maybe that's why. There's just a moment of slowness through there where I feel like that's not... I see the pivot off of here, but then it starts to translate as well. And even though it's... Once this is down here, there's just this moment of... This is not quite planted because you can see how long it takes for this to go down, while this is rotating and getting off the ground. But all that, I mean, these two seem fairly loose with not that much weight on them, while there's a huge weight transfer happening, if that makes sense. As in, the root is here, all the weight is there, then it's going to transfer, and the moment you get on there and this is lifting, that transfer goes on that heel and foot. So to me, I will bring this foot down and plant it a couple frames earlier. Just to really push the idea of, all right, well, I'm taking a step here now, bam, foot and weight. Everything is on that foot for the weight, and then you can move over. Even then, I would probably stray from the reference. Yeah, you don't see that leg, but where we are, a bit more over. That makes sense. Over that weight-bearing leg. And I apologize that I didn't, I just never noticed that before, like this moment, even that. So I apologize if that comes in late, as a note. It's just watching this, this just felt like, ooh, with a bit of balance there. Even if you would not lean forward, you could keep it. But then you have to play with the idea of, well, it's about to fall, and that's why he's taking that step, but then I would take that step a bit sooner and almost a bit faster for the rebalance here. Same thing with this. Again, we don't see the leg, but it could also just be, you know, right underneath where I feel like this isn't too far out. Again, the slowness of this change while being off balance is kind of bugging me a little bit. And I think it's going to help you to be more over this leg here with the weight and the chest while this foot goes over there. Then for this, in the reference, there's a good one, two, in terms of one, two. Whatever my scribble was that. And if I look at yours, they're a bit two at the same time where it's almost, here's a moment, we're doing all of this, and then bam! Now we're hitting pose to pose. Let's go for a walk where it's almost, feels like two stitched parts, if that makes sense. That's your moment. Bam, pose to pose. Let's go. So I would actually stick with that offset from the reference. That's pretty neat. Kind of helps bridge those two moments. I really like this though. I really like all the weight shifting and the up and down in the chest and really the push when we have this going. I mean, it's still in step mode. It's a bit jittery in places just because of what it is at this point. But I really like as it goes down, how you can feel this go up, chest with a slight counter on the head to play this again. This feels really nice. The rhythm of the shoulder going up, how it pushes the chest, a little bit of a dip in the head. That feels really good. And I really like your, hold and then continue. That's exactly what I was talking about. It's like you open up my brain. What does he want to see? Again, not that you have to do what I'm saying. This is your shot. Just make it. I'm just here to kind of steer it left or right, but this is so my thing. I love this. Love this moment. I have to play this again. I love it so much. That's super cool. And then that pause, because it's a cool pause too because it leads into that look. He processes, holds a bit. What is this? Let's continue into that. Love that look left, right with that stop. The only thing I would say at the end is that it feels a bit, not rushed, but it feels like an added on this. So it feels like an added on. I need to get into this pose for the thinker. Well, then we'll be proud. But that's the only thing I would say at the end. It's awful. It's cool. The only other thing I would say is that turn, it feels like the whole mass moves over. If you could break up head and chest more for that turn. Connect the way you have it here, unless it's just me reacting differently to kind of the same. But that's the only thing. Right here just feels you can break that up a bit more. But then once you're here, again, this is all great. The plop is good. But then it feels like, all right, now we're going to hit that pose and stop. It doesn't quite feel like maybe it could be a moment of, boom, hold a bit. And then this. And I don't know if you want to like a longer hold on that. But if a scratch, a bit of something. It feels like this end moment is missing this. This really feels to me like it's creatures seeing something, processing and then continuing. And then that process slows down the body move and then continues. And that connection between the look, the slow down and then continuing, that texture and timing to me is missing here. Again, as always, it's super easy for me to say like, yeah, it's missing. Go do something. But that's just my subjective thing here for that end. That's that though. It's really cool. That's a big jump forward. Just love, love all of this. That feels just really good. Such a fan. All right. So yeah, other than that, for IK wrists and like broken stuff, it's kind of jittery and poppy in places. Just your spacing, how that goes forward, but then it stays kind of left and then back up there. So just general cleanup is always the thing. That's just always kind of the pain as you move out of, stepped into spline. But other than that, it's really, really cool. It's bummer about the close up. Totally get it. But you know, we have to try and maybe, maybe one point that Rick is updated for some more detail, but that's kind of that. All right. 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.