 Alrighty, let's play this in full. It's not super long, but there is sound. I love you. I've loved you since I met you. Alright, that is it. And you are mentioning in the email that you haven't touched the hands much. You will add more subtle stuff there on. That's okay. You already have some subtleties in here. That's totally fine. And it's a rough outline, first pass blocking to show you the ideas. So my observations and some more questions would be a the tricky thing is so that's for anybody who does you know, rough blocking up. You always very, very careful. Do not have something where an arm is here and over one frame there. That's one of those pitfalls and steps. This is going to take a lot more time. So if you want to spline this out, this arm is going to go back and probably by the time she goes up here, then it will be done and settled there just to switch out that that you have a more accurate outline of how long a move is going to take because it might be problematic later on. I think for the rest of the shot, it's okay. That being said, I would actually not do this subjectively. Only this to me seems more. Pensive, thinking or even potentially bored, trying to playing with tried to play with something. And then suddenly you're going to love you into this into this face. I don't quite see the leap or it's not seeing the leap. But to me, it's a big leap going from kind of sad and am I kind of bored? Am I just kind of what's going on to to this? This is like there's a crab in the back that pincher in the butt cheek. And she goes, that hurts. But then, you know, these two together don't quite fit for me. So to me, it's almost like you could like you would start here. Even a more freaked out and worried and or, you know, something where someone is thinking about something face pose, plus that that to me doesn't quite work subjectively. So personally, I would just be more in this thing where she has that face and that would have darts. She's looking and she's processing. She's processing what she's about to tell him and she's just so in love with him and this is consuming her mind as opposed to, you know, as opposed to playing around with this. Other than that, I think the rest worked. I just be careful with this. This seems like a really long neck. I'm not sure if that's just part of the rig like this. This seems pretty bananas. So watch out that you're not breaking the rig. And for the rest, I'm okay, although I am. It's a tricky thing. I was tempted to say, well, let's let's put her more here and the more traditional in my horrible drawings as usual of thirds. But then if you have her here and her arm is here, it's going to be a really long arm with the other guy or you're going to have to show it. So I think I understand why your position is here. But at the same time, we're not super bothered by it. I mean, she's very center. She's even a bit off-centered, but why not? It's not a crazy thing and it would reveal more on screen. Right. So to me, the biggest things when I was watching them was I don't quite careful with this. This move is going to take much, much longer. This seems more bored, almost sad, bored, playing with something and then suddenly a completely different mood. So but it's up to you. I don't know if you want to do something a bit more crazy where it's a bit more frantic, tapping and almost kind of, you know, balancing. I don't know. Maybe something just a bit more where you have this with less pensive and less. What is she doing here? Right? She's kind of scratching it where it's a bit more, you know, wide-eyed and tapping and patiently. Actually, again, she's she's so consumed with her thoughts. All that energy comes out into her finger. Then she explodes into this or like I said, you just cut the whole beginning and you just start like this. This is your beginning and already mouth open and she's darting and looking and processing. And then I love you and then this, but that's just me. I've loved you since I met you. That being said, right? If that's just the shot and that's what you want to do. Let's pretend that you're cutting off the beginning and not that the beginning is totally different here. The main thing that I'm seeing is this. This character is always like that, right? Body here, head here. You can scrub. You can scrub. You can draw, take the capture window like me and draw it over. I was going to scrub here. Right? You can scrub and you can see how the character is always in place. I'm always in big favor of a bit more contrasting poses. Can she go somewhere? Right? Meaning love you. Like I love you and then I've loved you since I met you. So this is one statement. I love you and this is now really reinforcing this. Hey man, ever since I met you, I love you. Now this could be yesterday. This could be 20 years or 40. I don't know. I don't know how, you know, grayish hair. She's still kind of young. So that's kind of up to you also to decide. Is this something that he doesn't understand off-screen? It's whatever, you know, story you want to put into this character. Does she love him forever all those years or since the first date yesterday? But is there something where we can, I'm thinking out loud again, not that you have to do it. What if she is not that she has to sit more relaxed? What if she's back there and just her hand together and finger tapping, same ideas with the finger here, but she's kind of taps, but she sits leaning against the chair and that she kind of sits up straight to go. I love you. So it's not this lean already forward. It's forced. She starts a bit leaning against the chair then goes for up straight, hands a bit more straight here. I mean, again, that's a crappy pose, but I'm just saying that she goes, I love you. And then she leans forward because she wants to reach the hands. I love you forever. So now your body goes from here to here. It might just be more interesting instead of that constant pose that we have through here that doesn't quite change. And it might reinforce, you know, her love for him where again, like is that she starts back here and then she really, really wants to tell him this and by that she leans forward. She wants to be closer to him within his personal space and so on and so on. Or I mean, you can also let's pretend she is a bit tricky again and thinking out loud. Don't have to do it where she might not be back here, but she is straighter up here. He's, she's already holding his hands or again thinking out loud like a process stuff. So head here. She's a bit straighter and here and then she goes. I love you. During. I love you. She's already grabbing this, right? So she's straight like here, leans forward, hand grabs this. I love you. But given that she's a bit, a bit like this. Oh, she's a bit high here. That's a really tall guy is watch out for your eye line. So what if she's really, really too much into this person? So she would start like I said saying, I love you holding this and then I've loved you since I met you. When she says that you go a step further doing the same the set before where you want to advance the body, but I imagine she holds this and now this other hand goes forward and starts holding this and she pulls his arm forward. Now it might be tricky. You might actually start introducing part of the body. This is going to be thinking out loud causing problems. But what if you want to make this potentially more comedic where again, like I said, she's straight holds the arm. I love you. And then holds that I'm towards her and then holds the rest of the arm and it's just it's almost like she wants to really hold on to that arm saying I've loved you since I met you. So there there are multiple ways to exaggerate this, right? That's or what's the words to escalate. I would like to work the word escalate. So to me and generally I'm looking for something where you have contrast to start somewhere you go somewhere also visually kind of reinforcing how she feels more strongly about the whole thing. And again, this could be just simple in terms of what you have here and just that's it or more with two arms or this and then he pulls away. She realizes where I'm not making myself clear because he's clearly pulling away. He doesn't quite understand how much I love him and then she says loved you since I met you and maybe that is then more arms out and she's more desperate because he pulled his arm away and so on and so on. So I think lots of options where we could push us a bit further and again, it's up to you. You want to make this a bit more dramatic more more comedic totally up to you. But that's it other than that. These are my my bigger thoughts and my bigger questions. We go into, you know, more details. I think generally animation is already there. I'm not worried about your animation. You know, you're blocking it just I have more idea thoughts and idea questions for you. All right. That's it for me. 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 like and subscribe would be awesome. All right. Thank you.