 Alright, so you're saying, uh, man, I added the thought process after closing the door. Oh, let me watch this. You should probably... So there's only movement here. Either you cut right when this door starts to move, but also the weird thing is that the door is moving without the hands pushing it. You could also just make the door a bit thicker, and there needs to be a little bit of movement in here. I don't know if you had that and you took it out, but everything kind of starts at the same time, but after the door is moving, just as a little finger. So, hold on. Move the hands, it doesn't look like it's touching the table. I added some irs and brows. Very close up, I didn't make her lean on the table. I couldn't figure out the speed, and when I did it, it just awkward. I just added some breathing and a little hand stuff. If I do keep this, I think I need to move the camera a bit because she seems to center in the shot. All right, let's see. Oh, like this. That's nice. Oh, that's great. Why is it so hard to find a good man? She is... well, hold on. She's not super center. Whoops, that is me being an idiot. Kinda. When you could technically do this center, the center line is here now. So, you're moving her even more to the left and you're a bit closer, so you don't have to show all of this. Think that could be something. And the rest is really cool. Just the beginning, what I just said there, because it feels a bit magical how this door closes, and the hand reaches the handle right when the door closes. It all feels a bit pose to pose still. And then also, this even is like a frame or two afterwards. It feels like the leg timed with the door. So, watch out for that. But that's great. I love that. That's all cool. That is a bit slow and floaty. That hand... the timing is too even. Watch out through here. She feels like a stick where everything pivots off of here. And all of that is just one big piece that pivots. There is no break up between any of these sections. And it feels like, you know, maybe a slight delay, but it feels like she hits the back and this comes together at the same time. So, feeling the two pose to pose. But the acting and the looking and all that is great. There's a slight feeling of IK, especially through here at the beginning. The hand is here and it's kind of locked in space while the rest comes down. And even though this drops, it's also dropping in a very straight line. And every so slight arc and delay, just texture and just make it less IK. And it pops over one frame at the end. That is cool. That feels a bit weird. You got a little sharp forward move here and that feels a bit weird. Also, because there's no rotation change in the head. This feels like a headline IK head with a sudden pop going forward. Now, what do you need here through all of this here? There is no head movement. Meaning it feels like it's just like a simple body move and the lip sync is kind of copy pasted to it. Like why is it so hard? Like why is it so she could drop the head of it, rotation down and the heart she can come back up a bit. And then she could go back up for instance, find a good man, another man, go back down maybe to the side. So you got to work your head a bit more with the audio and how she says things and the lip sync. So it doesn't feel so copy pasted, like I said. But why is it so hard to find a good man? These guys drift a bit. Let's grab, you can see how they're continuously moving. You can come down, stop a bit, go down a bit and stop a bit. And again, some textures, just some variation in the movement. But as a whole, love it. Good stuff. This guy, let me see. He's really just here. Well, you need to counter me. So, okay, so this one I'm taking hospital scene and maybe someone is dying and they need help or the patient needs something from 128, which is here to 139, this thing. Okay. I'm not really happy with it, but I'm not sure what I can do there. And from 170 on, you haven't touched it, which is the end. Yes. Let's see. Whoa. Wait, my sound. There you go. Sorry. I can't let this happen. I will not allow it. I mean, look at these people. Yeah, I'm not too sure. So I know this is a little rough, but in general, watch out. So even if you do something like this, right, your current blocking, it just has a head move, but it doesn't involve anything else. You got to have a little bit of a post change on this here. So when you move that head, it's going to take the chest with it. Is he going to straighten or is he going to lean over? What does that mean? Like what is that head turn meaning in terms of acting? Like what is he looking? Frustrated. You know, if he's frustrated, that will be a change in body composition to show that emotion. Is it hesitation? Is it, I don't know what it is. So this feels a bit non-descript. That is way too fast. Even in your blocking, you can start offsetting the things a bit. So it feels a bit post-to-pose, but it feels also a bit dance-like. He comes out in a very swooping, arc-y manner and the handout. This hand pose contradicts this one. So it feels like, yeah, this feels very delicate and is way too fast, given his mass and everything. And then it feels just like it drips down. Nothing else kind of moves. I'm quite sure what's going on here. Like there's cadence. Can't let this happen. Like all that. There's a certain rhythm to it that you would feel and see in the chest and the body how he says all that stuff. So this counters that again. It feels too soft. How the body moves here. This feels a bit weird because it's almost like this arm counters the move. It almost tries to stick in place and it's trying to, it's kind of leading with the chest a lot. It's a bit of a weird move. It's almost like he's leading this with this dragging to then come into a swing. So it feels weirdly body-driven and animated. It doesn't feel like a performance, but I still like this idea. That. I mean it's very minimal in terms of what I would keep, but that is really great. That section is still awesome. And then it feels weird. Like then he goes down to like mods over there. It's very very bent over. Arms back and we're also losing his face a bit. Be careful. And he comes back way too fast again for his mass. Then it's very twin there and posing. So the thing is it doesn't, the set will definitely inform some different acting choices and movements. And if he looks at things or whatever, you know, maybe there's someone, there's a bed here and someone is dying here or something and that's what he looks at. But even if you just switch the set to something else, it's just the acting choices are a bit simple. The movements don't quite work with the audio. So I'm curious if you shot reference, if you have anything to look at, any reference or thumbnails or ideas. I feel like there's a certain theme missing. I'm not quite sure what certain acting choices are and the only thing to me that really works is this section through here. But I do like that you're taking a step and a step. It's good that he uses space. You can probably just push it out a bit more. Given his agitation, you can also think about he's so frustrated, right? So it could also be that he's pacing back and forth and then stops and comes forward. You know, that could be something where he can use the space a bit more. He feels very, very confined in this area here despite that turn. So I don't know, I'm just curious what your process is in choosing those moments and if you look at any existing movie reference or if you shot someone or you shot yourself. I think that's going to help guide you in a way. Yeah, so let me know. 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.