 Alrighty, new version here. Let's play this in full. I remember this guy. Let's say camera change. All right. Cool. What is going on? I'm just looking at this. Not up here, but the rise in the hair up and then down. I think it's okay. I would ease into that camera a little bit more. It's a bit harsh on the stop. You can ease in over a slower period of time and even have a slight comeback if you want. But just at least ease in a little bit. Because if you come back, a couple of things. It gets a bit edgy here. Given that there's so much more room here, you can almost keep a somewhat of a handheld camera. At least looser in terms of reframing. We're here. You move over and then you would actually reframe more like this. And then as the creature, the robot gets out, you can still be here. And then as it comes in, maybe on the exit here, we can reframe like this and maybe even a bit lower to give this a bit more room. And then the robot comes back in from here and then we reframe up a bit like that. If that makes sense. I love doing camera stuff. So if you want to send me your Maya scene, that's totally fine. I can look into this and can pull past if you want. I would just concentrate on the animation. The parent there feels pretty good. Watch out. You have movement through there, but then this is locked. It feels very IK. So you're gonna have to have a little bit of palm movement and some, you know, just peel off here. Maybe it's like compression, like little things. Nothing swimming. You don't want this to be kind of moving for the women's sake, but just want to make sure that this influences that. The rest seems okay because you can even have a little bit of opening of the jaw. I don't know if you have nostril controls. I haven't animated this kind of a while. Yeah, it's kind of it. I don't want to do crazy. If you want to go and imply contact here, you have to be careful. Are we intersecting? Is this kind of brushing? Do we want movement here? And if that's too much, then I would just globally move this character so that this is here. Just give this extra, you know, it's always kind of like that. You always kind of see a gap, depending on how much you want to do in terms of interaction. It's cute though. I like that. It feels almost a bit light on your returns here. And by that, I mean when this creature goes up, be careful. Put on some onions getting here. You got that back line here, horribly traced here by me, goes to here. And then we're staying at that height. You see this? I'm asking as if you were here. Anyway, it goes up, hits the same height for frame, and then we go back down. So I would smooth it out a little bit. That being said, it's better than here. So what's happening here is that you're going to, you know, from a reverse here, from this to this, which is cool. But what happens here is that you're doing this. That's a one frame direction change where you're pushing up in terms of physics, and then it's going to have to have a little bit of hangtime and down. Because it's not that cartoony where you can do like a whole, even then you would hold a fair more tune and then you can zip down for pull. But I will keep this a bit more on the realistic side, just so it fits the style of all this. What you can do is either you add more frames to hold this longer, but then it would come down a bit later and eat into your slide. So you might have to add some frames or you just don't go as high. So where are we here? I mean, you already have contrast, right? It's around here-ish. Yeah, it's already lower, but you know, you can always go from here, maybe here, then you can have that time or can ease in a bit more. I do like this here, the slide out this way and then back. I think it's great. Given that you have some form of shadowing, aiming, occlusion, everything, it feels like they're a bit hovering. Little toes, I would bring them down and get a slight intersection in there. So it feels really it's on the surface or just take out that shadowing and watch out, these don't get too stiff. I like what they're doing. You can probably keep these a bit looser and then here they can come up a bit on offset. And even through here, you have to think about is this a creature considering this to be a threat or not? Is it curiosity? Would this start to vibrate maybe because of sensing or because it's excited and wants to play? That could be something. I would be careful about this rotation here. You're going out and then we're stopping here and then you just rotate back or I would probably just not rotate or translate as far, right? You can peel off and maybe be here and then as this happens in terms of rotation change, it keeps on translating forward. You can always come back because I don't think you can go further forward because we're fairly stretched here already. So watch out for your spacing there. This elbow change here going down indicates pressure, which means that you want to flatten on this side, peel a little bit off, flatten the fingers there, stuff like that. And I don't know, this feels too much to me. I like that you're indicating a squashy thing because you're pushing for the go this way, but it feels more like I would reduce this a little bit and almost have a slight curl in the thumb in. Everything kind of points this way and pushes this way as well. It's supposed to just a kind of a neutral spread on those toes there. Very detailed. Even this here, I like that you have it here, but I think it's also a bit too much. And then when I move like this, it feels a bit too slidey. I would add a little bit more of a roll peel off. Like that type of thing a bit sooner to be honest. Hold on, watch this in real time. Yeah, a bit sooner. I do kind of like the contrast of kind of a slide peel off. So it's not just a step, but maybe just a bit sooner. This I'd be careful when you go forward. It feels a bit fast where there's momentum going forward. It pushes itself forward. And then with that slide, there's no real, it's not really gripping and it's not really able to push back. So this forward move to me stops too quickly. It feels like you're doing this. So it feels like you want to go and continue with a bigger, broader slide forward, and then it has to go back and it wouldn't be able to go back that much in that quickly, if that makes sense. So this or you just reduce the amount going forward. But either way, just make sure it doesn't just go forward and down a little bit of a slide there and just make sure that momentum doesn't just only stop. And then on this, the other thing I'm reacting to is that when you plant and you just have toe spread, the rest feels kind of locked. I still have a little bit of, you know, maybe a little peel or like a foot roll off here and then a compression down, flattening and then the toes. So it's not just, it just feels a bit like I'm putting your rotation just on the fingers, the base while the rest is kind of locked. Because even on this here, as you go down, this feels really static. It's going to feel more detailed, working, flattening this and flattening a bit more compression. I like that the anchor goes out. There's good stuff already. I think this is okay. I was feeling that this is maybe a bit too changing of direction here. I think it's okay. You might be able to go one frame lower and then here and then come up or soft the curve. Don't forget to animate these guys. That's the offsets and stuff. They feel sometimes a bit too stiff. It's cool though. Even this one, I would probably add a frame or two of a hold. So you're going back and immediately returns and this feels, again, this feels very physics driven. You're going to go up and hold a bit and it's the arms out that's going to drive the imbalance. Even if the legs would push, it would be a root movement this way in these directions and then it drops. So it probably gives a couple more frames of a hold and return. That's kind of that. Then the robot is a bit flat. Watch out. This feels like you might have a bit more of an overshoot there or a flatter curve. As in, if you're ending here instead of doing this, you just start earlier. It's cute. That's cute. That feels a bit slow and even and static there, just through there. Sorry, got a plane flying over there. I don't know if you can hear this, but it feels like at that speeds that this would gravity wise already come down and dangle a little bit. This whole thing would happen sooner with a slight return possibly in terms of time. Yeah, it feels a bit floaty and slow there and that's kind of that. All right, thanks. All right, there's an email. You can sign up. 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