 Alrighty. Let's check it out. One thing I would say, there's something in her arc where she, body-wise, I'm looking at kind of like this area, she goes and then just kind of drops. Goes to the right and stops. It's a bit more of an over-shooting arc. And that drop here is very linear. She just comes to a stop so that your TY feels like it's doing that. She's easing down and up a bit. She's taking a step and body weight in there. On the head turn here, just through this section. I'm not seeing much in here and the chest. Even if it's minimal, you want a little bit of interaction there. I guess you're moving the shoulder. I'm not sure. The thing is what I'm not seeing is this is still one line and you want to have the shoulder be this high. There's a clear difference in the shoulder height. You're saying I already fixed the shoulder and I probably make more changes with the upper body. It's just not visible in your scene. Even through here, you can still see how this is straight even though that arm is up so this shoulder will be higher. Then this comes up to the same height here. So I don't see, I just don't see the shoulders pushed to the degree that they should. Then your eye dart will be here carefully. You have a dart going this way which happens while the head goes this way and it's doing a very big body move. So we're kind of missing. Here it's better. You can also even through here look over here and then maybe have through this section a dart a bit lower. You want to keep your darts to moments where we can actually see them. So through here, it's too hidden through here. This is cute. You're getting into asymmetry which is cool. You can kind of push this one eyebrow a bit higher than the other. That eyelid is a bit higher. So pushing asymmetry will be good there too. Very close on that one. This guy is so harsh on that plate. Same thing here on your turn. And she turns around. Starting here, start to slow down and ease in. She just stops and if you look at the spacing here. You've got this, and I'm going to flip once here. Where is the back? So you're here, here, here. And then it's one and then stops. See this? I'm here to here. The red is in the same spot. So at this point at that speed, that thing would shoot out. So you really have to look at the movement as if you were holding something like that. Same thing here. This is a very sudden drop. See from here to here. Suddenly it drops. Same thing here. That's not too bad. This is harsh. From here to here to here. Oh, and then it kind of stops on the same level. So again, you want to play on your... You want to look at your easins and outs. This gets better here. That is fast too. Right there. She goes up so high and the thing is you have your body like this and your arms like this. And then you go up and your body is like this and your arms like this. Basically means your arms are completely parented to the... to the upper body. So while that arm is here, when the body goes back, that arm will be lower here. You're going to drag on that. Again, here that drop, boom, stops with two harshly. It's okay. This is a really big head move. Your chest involvement is a couple more. Ease in a bit more. And then here it's weird where you have your shoulders and your head kind of turn all together. So it all feels parented and linked together. So you got to break that up more. That blink is a bit long. You don't want to hold the blink for that long unless it's a very distinct purpose. Right now it just feels like she's fully in action and focusing and looking at things. But then this is long blink. So I would just not close that eye for so long. It also feels weird in terms of she's looking out here. She's still out here. But then she's putting it down here. I don't quite sure what she's looking at. Is she looking at this maybe? The tricky and her mouth shape is always the same. It always has that smile. Always the same width and no changes there. And then this feels weird where your hand hits this and your jaw and hand open at the same time. See this? It's as if the hand is like the puppet. Puppet hand opening the jaw. So offsetting that and giving this different timing. It's like your hand comes up really fast and then here really slow down. So instead of doing this, give this a bit of a lower arc and keep this speed a bit more constant on that hand and then slow out at the very end. It's like she's about to grab it and then she stops. When she stops, she could widen her fingers a bit and then react over there. Then it would cut to... Yeah, that works. I would just, you know, move the phone. Do a little old-school movement of... Yeah, I guess that works. It kind of jumps, but it's not too bad. She's a bit fast. How quickly she moves that phone over. It doesn't look like she's hitting her head. And then you mentioned it's unfinished. Just make sure that it eases in more and she has some movement. And right now she goes through this and she stops very quickly. She's also very cross-eyed all the time. Looking inside, you can widen her eyes a bit. A bit of a drift in this hand. Ooh, there. Eyes are cool though. Definitely just keep working on the breakdowns that can do other shots. You know, like this arm is always straight. Again, kind of attached. I know it's kind of following that upper body. But yeah. Eyes work really well. There's some really cool thought process going on in there. And then you have this one. It's cute. The problem with this one is that the forward moves kind of stop. And then she goes, stops and goes. As if you translate. Feel like they're doing this. Right? So she goes forward. Boom, stops. And then boom, stops. Boom, stops. So again, like your movement cannot go suddenly, stop, suddenly, stop. It has to have a bit of a ease in. You can have little pauses, but it should always go forward a little bit. So this feels just a bit too harsh. And her arms are a bit defaulty outside. They never really bend as much, at least with that camera view. So they're always pretty straight. And you can kind of play up the contrast a bit more. They're always kind of straight, doing this arc, going back. Going back. This arc is a lot of back and forth, back and forth with straight arms. So you could play where she could start like this and then maybe, you know, they get a bit more bends. I don't know what you want to do with the posing. It's up to you. But just some more contrast in the video. But it seems like she's still happy. So keep that feeling of happiness. All right? 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.