 All righty, new version here. Ooh, I like that beginning. I want a bit more of a slight life to that. There's some, I hate copy bits here and there. I don't know if that's my playback. So that's cool. I like that, just like a little lean. And then going there, it's less poppy. And I know it's kind of deviating from the reference, but I think that's okay to me. What you can also do is for as you're getting to, you know, it's so close to done. As you lean forward, it would be really great to just kind of push the pressure on this a bit more. I see some spreading of the toes, but it might be interesting, especially doing here. If you look at that line of the shin moving, the rest feels a bit lifeless. So I know, I can't remember what you wanted to do if you're going to do a grass or anything else, but you can see kind of that shadowy gap. I don't know if you want to flatten that, flatten the toes, but it just gives a bit more life. And there's so much movement there. And then also watch out how the shins go. True, if they suddenly start moving, go down and then stop on that angle there. If you watch just the shin, just a little bit of smoothing out and that could just be moving the root more to the left a bit longer. And then, because you can always go a bit over to the left, slow it down a little bit. And then a bit more to the left, because we're moving over to over one leg, basically. And then over to there. Is that a muscle? You have muscle shapes in there? There's such an elongation of that muscle there. And the same thing here. So as we transition now over to this foot here, all the way is on there, some more detail in there. Now, if you're saying in your mind is listening to this, no, no, I'm going to add grass. You'll never see this. Then ignore what I'm saying. That stuff that we can start putting in there and by we, I mean you, and watch out there feels a bit of a pop there. Right there as this moves over one frame. Even this here, this little move up is over one frame and then suddenly to the right. So I think, because everything is really in place. It works really well. So just little moments here and there where you gotta be careful about one frame moves. Even like this where you have that rotating over this way and then suddenly pops over one frame. So every now and then there's some hiccupy bits. Here's one, I feel in the bodies that was going on here. I would also on that drop here, just have a bit more either rotation up and over any type of influence where you don't want to feel like this is a separate Ica head. There's a lot of changes here that I would just kind of push in the head a little bit. A little slight influence on the head. Because of it, I think it's this sudden up move that I'm out here it is. Yeah, you go up like that, watch the brow up, up. So make sure it's not too steppy there. This stop is a bit harsh. This is if you track this line. This goes over and then stop. And you can cheat this by having a little bit of when he does this, rotate the head down a bit. And then during that transition, you can rotate up and then back down. So it's not, this feels fairly in the same rotational position throughout. Then it starts to go down here. That'll impact, boom, it's good there. That definitely helps. And then watch out, just that move here. Warm feels a bit, even in timing, almost a bit too straight. It feels a bit like an IK arm. And it feels mainly in the arm. I would push the shoulder a bit forward and up just to be, just to heighten that moment a bit more. Heighten as in just kind of that connectivity where like one thing is moving the effect affects the rest just a bit more, so it doesn't feel, because it's already fielding slightly IK. And I wanna get away from IK field in that whole arm. Then you could probably, let me see. Watch out, there's a bit of a pop there. Boop, toe up and down. And you could potentially, I know it's gonna impact this area, but rotate that foot just a bit lower. There's a little bit of a bigger contrast. Again, pushing, maybe off the reference a bit. This is already so parallel to this. You might have maybe a little up and then maybe a curled toe. So it just gives us a bit of a different asymmetrical feel to this. That's that. It's very close, it's really getting into really the super polishy cleanup parts. And that's that. Remind me of an email, what your plan was. I know what else you're gonna add. Maybe something, some other areas for the sets. Alrighty, thanks. 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.