 Alrighty, let's play this in full first. Slide. Interesting. Okay, cool. So, first impression that I have here, it feels like that subtle overshoot is a bit wobbly. Given that she is so... I feel like there's a lot of tension in here. So there would be a little bit of maybe a little overshoot, but to me it feels like it could be just tighter, given that there's such energy and strength in this pose. I think it's just a bit too wobbly. The question is also, I'm assuming, so is this going to be a door where we don't... Like she enters like that. So it could be interesting to maybe... It has a slight feel of just being like a 2D card floating right to left. So it might be interesting to have a bit of a different pose. Maybe even that hand, the staff is higher. This could be bends, maybe slightly different head, or maybe the root is a bit higher. Then she lowers herself into this. Or actually I would probably not do that. That starts to feel a bit uncomfortable. It's almost like you want to have more of a streamlined leg pose there. Like stay in this. Although I would probably then shift the pivot, like have this side of the shoe all flat on the ground so you don't have this broken foot pose. So it's just a bit more on its side, if that makes sense. Then after that... This all works because you're moving forward. You might have to have a little bit of a root moving back, maybe back down, or back up, down over. Like right now in this position, how is she able to move forward? Because this leg is in front of her. So it's difficult to have this leg be the only thing that drives her forward. So it needs to be a little bit of a push off of this. But since you are fully extended, it's going to be tricky to get that. So it feels like this could be a bit more powerful where with just the back for some anticipation, that gives you a little push off with this. And then you can even... What's the arm doing? You're going into the run. Maybe you can do a thing of also swinging this arm back. Really kind of drive that arm forward. So you can drive that leg forward with the push off to give this a bit more energy. And then it just comes up a bit later to get into this pose. But once you hear... She feels super slow motiony. If I play this 25%, 50%, twice the speed. See, double speed feels better. Obviously the whole thing is now double speed. But the get up and getting into this, given the energy, I mean you could almost have the whole shot double speed. Versus if you go back to normal speed, everything feels just a bit slow motiony now. So that would be that. We're also getting very far screen right here. Cutting this off where the question is, why? Are you potentially... Because I don't see anything in the email. It's mostly body mechanics. I don't see anything in terms of what's going to happen later. Out of something else is going to come in. Do we need that much room? Because there's another entrance of something or someone. If not, you might be better off just kind of panning with her. But then watch out. It's slightly the same size. Imagine we're then around here maybe, compositionally, and then we pop into this. It might not be enough of a change. It might just feel too much of a pop. But it could be worth a try. And then she does this. And I might just need a bit more context. I would start having some basic hand poses in there. There's just something when I look at this, it feels very arm-isolated. I don't see much if anything in the shoulders. Nothing in the chest. The chest and head feel a bit too locked together. This feels a bit better. And I would just like a quick fist pose there. And then it gets very... To me, it has a bit of a... Even though this is to the side, on the watch eye, it feels like an overextended arm here. It feels like it just goes straight up and then straight down. And I feel like this could be potentially a bit more complex. Either you twirl around the staff, she goes a bit more in the y-rotation of the body, and then plops down. But I don't know. You'll let me know what the intent is here besides body mechanics. I feel like this could be a bit more elaborate since we are on the close-up. But you could technically stay in this and just pan with her. No cut. And then you have room to do all kinds of body mechanics. Or if you do this, this is the moment where, if we're already cutting, are we going to do something bear with me? Or it's maybe more like this? Or... Even more. Even... More... Lambus bread. We're like that. And then it's just all about cha-cha! Well, you can't see her face then, but maybe you have to tilt down a little bit, but maybe this whole thing is more about the head. I mean, compositionally... Let me just bring this down so I can move it up. Maybe that would be then more in a more comfortable third somewhere around here. And even then she would still be somewhat low enough so we can still tilt down a bit. Just questions. I guess at this point it's more questions and critiques. What do you want to show off here? Would that be something cute to show off more of the face and intricacies in the arms and fingers? Or do you need it to be full body? And then if so, then why not just stay with the original camera and just pan with her to end up like this? I mean, we are looking a bit lower down on her versus here at more level. So, I don't know. Lots of questions. You let me know how you would like to proceed. Thanks. Alright. There's an email. You can sign up. You can start whenever you want. You can submit whenever you want. You get 16 submissions. Either way, a like and subscribe would be awesome. Alright? Thank you.