 All right, let's check this out here. This is the spline version of the shot I looked at before. Ooh, nice. It's very cool. You also have reference one that we talked about in the previous thing we talked about potentially just cutting. I would still probably cut around here. So you don't have that step hold. And if you, I would probably also remove this little piece there. So there's a cleaner silhouette in terms of the head. But yeah, it is cool to see the reference. But let me switch over to this guy here. Pop in the leg there. Watch out, there's some slightly funky just in here as it goes up this bit of a pop in that knee. And then here kind of locks and then this middle section pops and then moves it super picky. But it's already very neat. It's super picky, but just because we are on the real side. And again, it's not. So again, it's how does the reference you look at it and you're totally fine with things because it's real. Looking at it a bit separately, I would, without the reference, I would take this and that step through there. I would add one more frame. And then even though it's fairly small, sort of thinking about spreading those toes on impact for squash and the weight distribution, just right now that step, it's just a, it feels a bit fast and poppy. Even that left one has a bit of a sharp stop in that. In here, that shape just stops and actually pops back a bit. Watch this in real time. Super picky, but it just feels, for something that's that fast, again, it's just cuts into, it's a bit too exaggerated without, it's not really cartoon-y, but it just takes away from the realism there. And it's also not, even if you would stomp like this, there would be a bigger impact in that shoulder and a bit of a change in that chest. Right now it just feels, it's a very isolated move and they're just very fast. I know I'm starting right off the bat, super picky, but I think it's already really good. So I would look at that. I think given that there are steps taken, I feel like if you slow these guys down, the weight distribution and the timing of this, I think is neat. It has a little bit of a pause in there that I would smooth out because of that step, that forward translate, boom, stop, still live for frame or two, then continues, I would smooth that out a bit, but it's good to have contrast, but it's not even versus his butt, which is very even, how he kind of goes down. So I would have that a bit more, spit more react to what's going on here and then drop, you know, not have that gradual drop here, but kind of stay up there and then have a bit of a faster drop once you get into this. And then also a bit of rotation this way and then why, as these steps are being taken. Just a bit, I know they're very agile and do all kinds of stuff, just a little bit, right now those legs feel very separate from the butt movement there. I do like to jump a lot though. And then little steps there when he goes up are neat. Something interesting too, in that spacing, if I watch any line here, this is a visual reference point, kind of pops forward and another big move and then it seems to slow down a bit visually, but you can see this a bit in the knee and this area. How you have a big change from very compressed to more stretched out, but then here to here, not as much. And then from here to here, a bigger stretch, seems like that frame right there feels a bit, it also you wanna massage the root a bit to make that less poppy. I was watching this in real time. Just a little bit of a strobie weird thing in there. Also watch out that side there, the heel going down there, it's a bit faster. Do like those steps there, that's cool. I like that a lot. It's just little picky things, like I said about this guy here. So I would just pay attention to stuff like this and compression on the toes. I know it's very small, but you can start playing around with that. Even it's a bit of a polish there, the ears and stuff and obviously the tail. But I would still say cuts, right after, right after that step, because it still has that feeling of step and hold. It's like a bit of a long pause. It's as if he's trying to slowly eat this branch here or he's trying to get a booger out of his nose there. I would take that piece out, cut it or cut it short or bend it over this way and just personally, I will keep that energy going just a bit more, you know, so break away from the reference and give this a bit more energy and then we cut on action. And I think that's pretty much it in your email. You try the camera move, which I like, let me see. You have a little bit of a Z rotation right there, which I personally wouldn't do. That starts to be like someone's on the boat. I would just keep that horizon level pretty level, that horizon level level. Other than that, there's a little bit of, I don't think you have to anticipate with the creature down. See how we're starting to tilt down and then up. I would just keep this kind of following and then going up, which I like you have a little bit of a delay. So to me, we just beat the rotation Z and I wouldn't tilt down with the creature. Even if it's slightly delayed, it seems a bit, it's such a minimal move that I don't think a camera person would compensate and correct and reframe there. Well, at the same time, keeping that energy, going, keep going forward, maybe start another step or something and then cut on action, but I will continue to pan and tilt up this way so that at the end, the creature's head, we know, might be around here. That's my creature. So just kind of keep following a bit. Not that this is a shop breaker, but I think we could just keep going. It will add to the energy instead of slowly dying, basically. All right, that's it. 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.