 All righty, there's sound here, let's play this in full. When you finish, you can take the kids swimming. Jack, nobody cares what you look like in a bathing suit. That's just it. I'll pick one up for you. Well, I'm not gonna wear it until I lose maybe three or four pounds. When you finish, you can take the kids. All right, let's turn down the volume a little bit so it's not blasting into my ear. When you finish, you can take the kids swimming. It's neat, there's some cool stuff in there. I like that you have secondary reactions to the different business that he is doing here. And then she has... That was, I love that she kind of sets up what he has to think about. And then as she disappears, we lose her face so that we can concentrate on him. And then it's all directed at her. And I like also the size change here. The only thing I would say here, so let me just go one by one. So instead of her like this, I would have a little bit of a moment. And let me just bring this in a bit more here. Where she is less turned towards him. The, yeah, the face looking at this. And as you come here, maybe by now-ish, she looks at him and makes sure the eyes are hard to see with the pupils or stuff that she's looking at him. So that it doesn't feel like, right now it feels like a 2D card with just the arm. It's the only thing that moves. It was like a 2D element kind of sliding past. So I would just have a little bit of motion in the head to look at him. And I like how she looks away there. I think that's the thing that would act there. And even a bit of a change of when she looks, maybe this changes up a bit more. Also careful, I mean, there's probably some water in there or something either like to droopy more or you keep that a bit straighter. But I would just have again, little bit of motion there. So it's not so stuck there. Now you are saying this is still in blocking plus stage and lipstick is not there yet. That's totally fine. So you probably get there all that later. I'm just mentioning now what I'm seeing here. Then when she says that swimming at swimming, he takes a long time until he reacts. And you might argue maybe he's not the smartest, but I think that would still be interesting for when swimming happens, maybe he blinks. There's an eye dart or there's a slight flare in the browse, but something that starts indicating that the wheels are turning that he's thinking about this and then goes swimming. And that's the big, oh, hold on. So it's not just nothing and then this, I think a little bit of thought process would be good. Now, I don't mind this, that it's broad because he is pretending. The only thing is that you have this and then you have that, that feels a bit too mirrored. I think you might also kind of ramp up into his big theatrics where he would go. So all of that, where's the other arm here? So keep, personally, I would keep that arm down here. When he goes, oh, that arm just kind of slides when he leans back, so that arm would slide a bit, would still be on the table, maybe the hands are there or it slides off the table and then that arm is just dangling. So that is mostly here, head and chest. Oh, and then when he turns, now it escalates into something bigger. I feel like, oh, but maybe not as wide. It might just be something like that where that arm kind of droops down into a little bit of an arc, but I wouldn't go A, covering her face, but also just not so extended just because we're gonna get there here. So it's basically you're building up to this. So here would just be head, chest, here with a slight change in that arm that goes into this. So that would be almost like the maximum flair. So not this far, but it's always somewhat bent, either bent down and going up into that. And I love this here that you can still see the eye. And then it ends with, and that is the big thing, all summer. And maybe relaxing that arm a bit. So there's a bit of a change on that flair here. So it's not, like he has a hip problem. He almost has his hand on there. So a little bit of a change there. The thing that I would do though, I wish somewhere we could kind of sneak in things where he would, if he looks here or even at the end here, quick darts to her just to see if it works. That makes sense, right? Like he's pretending and he wants to make sure, is it working? Am I convincing her? So it doesn't play that so straight. Like we can, the audience can tell that he's trying, but it's a bit, he's not quite sure if it's gonna work and he's kind of having quick darts over to her, if that makes sense. He's so slightly, I mean, I guess the legs would be down here, but we'd still have him a bit more hunched over. To me, it would be a bit more hunched over. So then when he gets to this, again, so the couple of things. Yeah, I would just keep it a bit. I mean, if you adjust that arm, it will match here. But there's something about this being just a bit too, I don't know, feeling like a bit more rejected. I mean, I guess he's still technically waiting to see if she fell for it. That's why to me, again, I'm just rambling here, but my thought process is that just a bit more hunched over in that silhouette here, right, in that profile view. Then as he looks over, that's when he would straighten into where he is now. Again, after she said that, a bit more of a thought process, like he's, that sinks in. And that's his response to that. And I like that he goes over there. But then on this, I would straighten him a bit more so he's not so squatty and crouchy there. It's a bit higher and straighter legs. I'm not gonna wear it. And this is like, oh, I'm not gonna wear it. And then he goes against her. What I would do then is lean over this leg and again straighten the leg so that visually, you know, it's almost, not that he has to point at her, but I'm looking at it. He is going against her, so I would close that gap here visually. So that he starts off, you know, this far away and then he gets into the middle as well. I'm not gonna wear it. And it's not just in here, but it's a straightening, a bit more of a defined pose, maybe even a slight lean towards her. And that way when he goes, we're not, and you can, you can hear it in his voice. I'm not gonna do this until I lose maybe a couple pounds, right? So that energy drooped in. That's why I would have him almost lean towards her, straighter. And then as he says this, he ends up, and I'm not sure if you need another gesture. I would just keep this where he just deflated. He has a potential slight turn back to still straighter legs, but back to a hunched over potential, I'd say this pose, but maybe at that angle, that makes sense, right? He starts here. So a bit more, huh? Then hold on, straighter gets into that. She says the line. He straightens up a bit here. Just again, that's so squatty. He goes, well, I'm not gonna wear this. Really straight, leaning towards her. And then as the voice deflates, his posture deflates, but still straighter legs, but where he's kind of hunched over. And I don't mind this. I don't mind that that you visualize it with the rubbing here. But again, it would be in a different, a bit more three quarter, almost profile pose. And personally, I would take that out. There's just too many arm gestures in animation usually, and I would just minimize that a bit there. And that's that. I hope that makes sense. If not, let me know with this email. And let's chat about this. Thanks. All right, there's an email. You can sign up. 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