 Alrighty, let's go and check out this little shot. Wasn't that just magnificent? I was worried it was getting a little dodgy in the mill part, but then that finale. Wow! Alright. I have some concerns about some of the moves. Wasn't that just magnificent? So there are a couple things. A, you are in this pose here. Wasn't that just magnificent? And doing all this, this is a bit less than a third, almost a quarter. There's a lot of repetition. There's really nothing going on besides that. And then you repeat this whole thing. I know there's a kind of the rhythm to the clapping. Wasn't that just magnificent? But maybe there could be something where... I don't know, I'll just be pulling here. Maybe he's upright. And at the end he is there. And maybe throughout the whole thing also the head and the body. The head goes left and right and bobs while still keeping the rhythm of the clapping. Something where there's a bit more contrast going from A to B or the opposite. Or this and get straight up, whatever you want to do. But I would try to get something a bit more contrasty so it's not always the same. It's like that for quite some time. The second thing is, and this is an overall thing. I think you have a lot of body moves that don't really reflect the... Basically there's nothing in the voice that reflects that move. Meaning that if you listen to the voice... I know he inhales here. So that could work, actually to be honest. But this... Even there's a tiny bit of a break. The voice doesn't really sound as if someone was jumping like this. There's no strain in the voice. Even this, that's a crazy ginormous jump towards camera. Which in general I'm not sure. Again the voice doesn't quite match this. Then again, to be honest, to me this is not very uncommon. I mean in movies, since people are being recorded in a booth. They don't really match the energy on screen anyways. I see it a lot and it's not like people complain about it. I was very picky about this. But again, to me this is the contrast. It's a bit flat here. Even though I like the action. I would just push this. This I like. I just be careful. You're gonna need more breakdowns. You're gonna have to flesh this out. This is gonna be very fast and zippy. Which you can. I'm not saying you cannot. So if that's your style, you can get away with some interesting timing. I was worried. I was worried. And it does work throughout the inhale. I would just look at. Easy starting this with one frame. Like a foot goes up as the anticipation there. Or the body does this whole thing. But it still twists it in the head. It's still looking at us and it's really a big ginormous twist. So you might be able to push those breakdowns and in between. And do something really cool. I was worried it was getting a little dodgy in the mill part. But then that. Just to me it is. In the mill part. But then that finale. I guess you could kind of get away with this. Again, I'm being picky. But on the first time I watched this. This was already slightly suspect. And this going, wow, this doesn't really match the voice at all. But then that finale. And I know this is again, it might be very subjective. But I like the actions like that he goes back. I like the interaction with this. And it's interesting that he goes to all those different places. I think mechanically it's all very interesting. But then this feels. It just feels to be overanimated. It's like with the cross-eyed face. And this big jump towards camera. And not quite matching the voice energy. And to be honest, not a massive fan. But I'm not saying it's wrong. So that was just my impression seeing this. I'm not a huge fan of this. But that doesn't mean you need to stop and change it. So it's kind of a wishy-washy critique. But there is more energy in the voice. That's some hesitating in my being too picky about this. The first impression was, oh, it doesn't work. And the more I listen to it, maybe it does work. Maybe I'm just getting used to that voice. Anyway, that's the main thing. Probably the most actionable things would be I would add more contrast and change in the posing. It's not so flat. Work on your ease out of this and what's going to lead first. Again, it could be fun to just have that leg go out and then do a twist. And the head stays put. You know, push that timing. It could be fun. He's getting a little dodgy in the middle part. But then that fun. Yeah, again, I think I'm just going to leave this being slightly subjective. Personally, I feel it doesn't too much energy. There's that so much movement in the body with the jump, albeit there'll be a slight change in the voice, especially at the end. Well, let's pretend we're keeping all of this. This just seems so presentational to camera, which I mean, he is talking to camera, but it's just something about this that it's such a big jump. I really don't hear that in the voice. But like I said, it's not uncommon. It's not like it doesn't happen in movies either. So I'm not sure how helpful this critique is. I think the beginning is the biggest thing where I feel like, no, this is something I think I would really change because it seems kind of flattened. It's very repetitive for a long time. And the rest is kind of like, you know, let's email about this. You tell me how much you love this. And what your thoughts are. What do you want to keep? What do you want to do? And that's for that. And you do have another shot here. Let's listen to this here. No, no, no, no, no, no, no. This is bad. This is very, very bad. This is really bad. This one, I like this because it makes me wonder like, what is going on the back? But then the rhythm is always the same. So I would try to have a little bit of a change already in there. And then as he's here, it seems like you almost want to, and I hate to go back to that jacket thing because you don't want to stick to that, do your own thing. But it's almost like all this up and down, up and down, up and down, and then that inhale and then this. I feel like you almost want to have more energy and maybe arms go out, a little shaky, maybe wiggling the fingers and maybe some head shake, just kind of letting out that energy or getting more psyched up to be into this or a bigger on purpose opening and breathing and heavy breathing to feel like he is out of breath here. So it feels like we're starting off cool, then we kind of lose that energy, then we go into higher energy again. This is very, very bad. This is really bad. And then watch out. This is very, very bad. This is really bad. Also a bit even in timing. So it'll be one, two, wait, three, even stepping four, I guess. So one, two, pause, one, two, or one, two, three, pause, one more before that. It's a bit of contrast in timing. This is bad, this is bad. And watch out, even as you, even this arm is a bit different. It has a slight post-to-post twinning feel here. So just watch out for that as you continue on to offset these. This is really bad. That's all cool. And even this here, I like the pang pang, but it could be in combination of pang pang and an adjustment. So it's not just, I'm just moving arms feel like you need a bit more because you're swinging up and then it's kind of constraint and now the root is not moving. So it almost feels like as you continue on maybe someone detailed doesn't have to be a crazy pose adjustment, but pang with maybe going too far with this leg a bit off the thing. And then as he finishes that pang pang, it settles into that position there. I would add a bit more detail there. And then my question is, who is he doing this to? Is there someone off-screen? So it's a guy on the set. This to me seems like, what's going on? He looks over and then sees the arrow. Even though I know he's looking here, but it's a bit small. I should have made this bigger. But for a moment I thought, wait, is he looking here? So he must be looking at someone off-screen. But then, yeah, I guess why not. Hold on. This is very, very bad. This is really bad. Yeah, I mean he is looking above that arrow. Maybe, maybe sadly pantomime me of, dude, what's up? And then kind of, kind of pointing down. And we're like, hey, can you see this? Something maybe a bit more over. So it's not just, is he looking here? Because, I feel like you want to make it extremely clear that you're gesturing. Well, not gesturing, but having that contact with a crew member. I like this though. And then it looks up. It's getting ready. Something must be happening. And I love this. Okay, getting ready. And not. Oh, come on. And then come on. Crack me up. I still love that ending. Oh, come on. Yeah, so that'll be it. Those are my thoughts on this one. I love that face too. I love that. That's what we see first. What is going on? And then this. Okay, cool. It's cool. I really like that shot. Just a little questions here and there. Maybe some suggestions as always. Take what you need out of that and do your thing. 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.