 I'm checking out this guy here, and I don't think you need to sound just yet, I can hear it on my end. It's interesting to see how it pops in and out of your different stages there, but I think overall this is all working really well. I'm watching that guy here. Yeah, I mean definitely continue on, I think we're gonna look at this guy since it's the most polished. You know, the rest is fairly rough, but I think the ideas are there, I'd say keep going. I know this is kind of one of those bullshit comments where you keep going, but let me cut this guy out and just go with your first guy here. What I love is the timing of your hands here. I think, like the hit is great, I'm just mentioning because I hear the sound and the way it hits the table. That's great. What I would add, so it feels good, I think it'll subtleties in her body language and the way she exhales and goes back. That's the way she transfers the weight, you can see it in other pieces of the body. So when she goes here, like it's that, I don't know if you could have a tiny bit more inhale and something in the shoulders where it goes up just a little bit more. I want to go too crazy. You have a nice amount, but it feels like a lot comes out of here. Like this part of the chest rotates, but I don't see enough here. This swelling up a bit, the shoulders up a tiny bit here would be neat. And then that's her exhale here and again I see this coming in here which is fine. But I think when she exhales here it would be cool. Imagine a grip on her hands is relaxing. Like she has this, I'm acting out on my own. You just see kind of parts of the fingers relaxing and moving out a bit, thumb could go up a tiny bit, just something where it can feel that all that tension is releasing. So you could have a slight change in the knees, a bit more in the shoulders. Hold on, let me go back and forth here. See on that exhale there's nothing in the legs. So as you continue on with refinement, try to have a little bit of subtle stuff in there as well. Her first eye blink, that feels a bit mechanical as it goes. Here you got eyebrows first which is fine. It just feels like this guy is probably, I'll probably add one more frame to beginning to ease into that. That's fine as you open it, just the overall timing. It's a bit the down and the up. It feels like it's at about the same time. And having her eyes closed for that long and not having this twice the amount of time for opening up makes this very robotic. I think if you're keeping it closed, it sounds like a rule that if you keep it closed for that long you're going to have to take longer. It could be closed and then snap open. It just feels right now in terms of the rhythm. It closes, holds, it opens, it gets it a bit mechanical. See if I'm acting this out. Yeah, just give me a couple of frames. Couple of frames I'm opening. And from here to here, probably reduce the eyebrows. I see a little bit in here, but it's also going against the head. Your brows go down, but the head goes up. So on this frame actually your brows are sticking in space. And then after that, especially here, and then after that they pop down. I would smooth that out a bit. So ease out of that a bit longer. And then as you go down with those lids, you can potentially bring those brows just a bit lower. As in kind of ease into it as well. It just feels, it's a combination of this part coming down and then stopping and not moving anymore. And then these guys coming down, stopping and not moving anymore. And then opening. I think you could have a couple more frames to ease into that. Yeah, I think it's a combination of all that. Eyebrows pop down, holds. Eyes close, holds. That afterwards is great. That's great. And I love how you hold it there. Eyebrows go up and then down there. It's great. That'll look there. It's good. I think once she hits this part, like you got something in the chair and it kicks her head back. But then the forward move, all this section here, feels like you got a joint here. You know, that moves everything. So all that stuff goes forward as opposed to having movement here, movement here, movement here, where each section is more broken up. So you would have boom, and then her head would probably, like that nose would be, not that low, but it would be a separate section of this coming down first and then take that part of the neck with it and then this just being affected by the overall move. I think you could do something with her hands afterwards. She does this. And once you get to... Where's my hand? There you go. So you go back, right? And then her... See, after you hit this, your arms are there. They just kind of stop. But then you can see how her elbows come down and her chest and everything, right? It's relaxing. So make sure that as you continue on, that during this move where you see elbows moving, that these guys, her palm kind of rotates down a bit sideways, a tiny bit maybe of a curling of the fingers to spin in. You want to make sure that it doesn't just stop. I'm sure you're totally aware of this. I'm just mentioning what I'm seeing right now. The kid is cute. I would probably leave it. I would be curious on that hit that she does here. I don't know if you want to have like a half blink, or like a bigger dart, but it's so uncomfortable for him that that little loud thing kind of snaps him out of something. It might be too much, but I'm just curious. Not that he has to do a take. I'm just saying like a tiny little... I don't even know a full blink. A little adjustments, maybe something in his brows, a little dart looking at her hands. So you do like a dart hold and then up here and leave that. And I love this. I love how it looks up, looks down again. It's that little exhale there. It's really cool. That's what I have for that. Tiny, tiny things, but obviously looking at your real... You know all that stuff. I'm just mentioning what I see. And that is about it. Alright, thank you.