 All right, so this is for a shot idea, like him moving from one side of the screen to the other and the way he's doing it, the auger is half spline, half step ticket, it's all spline money to work on his eyes and lip sync, let me know what you think and if you have any better ideas on the shot, let's take a look. Mmm, cool, okay, hold on. My immediate, um, what's the word? The reaction to this was this is a, it's a bummer that he is so far away. I wish that at this point he was already head here, you know, and overlapping in terms of shapes. Obviously my drawing skills are, you know, imagine that's your auger, but he is towering closer and with shapes over the kid, which is a problem because I understand that you would have to introduce him sooner or you have to move faster to get into this. But you could, you could have it here, right? The way you do it, and he keeps moving until, and the, it's just the ends of the pose where you leave this head, maybe here, but you just, you know, he finished all this by moving over, pivoting off the head, meaning that he is the way I described it over there, big, right? Now for the kid, it feels like that's cool, that's cool, that's cool. Then play up this more, the, the step-by-steps, because then it feels like it's, oh, it's IK legs and it's, you know, more in typical in terms of performance where people don't move legs, and there's so much stuff in the body, but, you know, at this point, he wants to retreat, like you would have to take a step and turn his route, so the feet are pointed this way, so he's ready to go backwards, like you want, you want to play more with him moving in the scene. Now I do like this, I love this, right, that he turns around and he looks over like that, that's great and it's so close, like I love that. I understand that this is more effective because if you have it the way I said it, this would be diminished, right, because it wouldn't be, it would be the same thing, it was kind of rotating around, plus you wouldn't be able to see the face. Okay, how about this, I got an idea. This is weird, the only thing that's really weird to me is that you're doing all this, and then he does this crazy jump over the camera, over and I'm looking into craziness and once he's flying this out, there's so much movement and we're missing everything. I would personally stay within here, where instead of this he just gets up higher, he pushes his hands up so his head ends up being here, really towering over him and then he can open his mouth and saliva can come out, you know, and he talks about eating, that's fine. So what I would do, since I love this, love all that, right, especially so close, what I would do is do this entrance, right, and then actually, it's right now, like this is the camera, this is the kid, and the ogre is kind of like that and does a turn to be like that, right? I am proposing that you enter like this and then you actually go towards the camera, that's your thing, and I know it is going to mess you up because then you have to take extra steps to get into this, but that's okay, I think you can just start a bit earlier and just make, you know, bigger strides and make this, I think you can make this work, and I think that way, it just feels, this just feels weird, like the toe is pointing out, this shape here, just his hand coming out, just pose-wise, I'm just not, it's not that effective. And I think what you could do, imagine he comes in, and we want to look at the kid anyway, I mean, when he does all this, because the ogre doesn't really do much, and imagine if he turns more towards us, imagine you got this, this head would be here, cut off by this massive, massive arm, shoulder, you know, you know, kind of that makes sense, like you have this, looking at his back and his, his ass and the arm come down, but it's this massive thing where it gives you a feeling of this, hold on, so I got this here, over that, that, that's the idea, right, so that at that point, you have that where he is tiring over him, and all you have are his eyes, then he can always still readjust a bit, and he can move over a little bit to, so that you can see, hold on, let me get this back, so that you can see all the acting and everything, right, it can be this small one, it can have a little bit of a side step, so that the silhouette will be more like that, so you do see all the awesome acting that you do here, but I think this could be a really great use of space and contrast, and then was that way, because it's more towards us, like we don't see his eyes at all, that's going to be a problem, and by having him more towards us, you can bring the eye line more towards the camera, we can see better acting, then he can move over and do all this thing here, and then I would just take the ending and not do this crazy jump, alright, thanks. 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