 Alrighty, let's go back, play this in full, there is sound. Hi, can I please do the house salad? Yep, you got it. And can I do a piece of bread on the bottom and on the top, please? Okay. Maybe just throw in a piece of meat in the middle with some cheese on it. Yeah, why not? So cheeseburger? No, I said house salad. So this is working really well. I reduced the size use because you can see then your frame counter, we're almost aligned, I start at frame one, you're at frame zero. But this is really cool to see. I like seeing this here, how you have continuous lean to the left. And I love this here. Like he feels so much more confident and secure than, well, this just feels like he's looking over. So maybe something for you like this helps, like stuff like that helps in terms of looking over. I just be careful in terms of not going too far with your pupils so that we can actually still see them. I'll be starting to lose that and get extra stylized. Maybe here, he still has a bit of a blocky feel. So if you want to push that feeling of, oh yeah, the more I order and the more I like this, the more confident I am. And I love this here that he's even like trying to get up there to the waiter. That is weird. And especially love this here. That was great. So what you could do is maybe here, let me just see. So I don't want to make sure, I want to make sure that I'm not stepping onto this pose. My suggestion was, could you have him slightly more hunched over and especially the shoulders forward. So it really feels like, and then when you get to here, this pose would be maybe like this far in terms of how far the shoulder goes. Like I like that the shoulder goes up and all that stuff. I'm just trying to find a little bit more contrast. Just the bits. But it's not, it's not crazy. I don't feel like it's horrible, but it's just, I wonder if this, just because that visual being so straight, if we could have just an overall frame one, if you look at frame one, right? Is he insecure? Even just boil it down to that. He doesn't look insecure to me. And I wonder if that would be even better just to push that frame one pose. They need it read. And then as we continue with the animation, it still reads that way. And then through here, I think since he's thinking, hmm, that's when he can get a bit straighter. It's like, oh, wait a minute, let me think about this. Oh, and the realization makes him even more straight here. And now he starts to lean. I think that would be really cool. And actually my last comment about the, I mean, the last part here. So cheeseburger. No, I said house salad. The only thing about this is that the action here with such a big drop fills bigger than the energy in the voice and bring up the volume. It's burger. No, I said house salad. I said, how salad? And I guess it could work. I'm trying to find and I'm still trying to tweak things here. But again, it works just like the beginning. So like, oh, do you have to change this? And the shot is not working. I'm just wondering, as always do. This starts and ends in the same spot almost. And you might almost argue, well, that's how it feels. And at the end, he's again deflated and he's more deflated than here, right, with the body and head being lower. So that's great. My thought was, could it be something where we don't mirror the beginning? We still retain the deflating aspect. But what if he's like this? Let me just double check here. Maybe just hear me out. Maybe that table is further away so we can see more of his legs. My awesome perspective. Why? Because then at the end, instead of like this, and again, I like that again, he would turn away because now, you know, there's the wall between them and he's turned away from a discussion and the facing where he started like, oh, I feel deflated again. But what if when he does this, it's more of three-quarter like that. And then you find you just have to cheat the legs a bit so that the legs, as he's like this, like, yeah, the legs are also more spread out in my awesome drawing as always. And then when he's like this, after that, instead of going like that, he's a bit more towards us. But imagine the legs are now more inwards like this, right? You have a bit more of like, eh. And then the hands could come down. He's like that. Maybe even the, you know, the menu like that. And then he's kind of hunched over towards us so we can see more of the face. That's an angry face. Hold on. Here, that's my amount of drawing. And shoulders over and he's, he's just deflated more towards us. If that makes sense. I hope that makes sense. That's the only bigger-ish thought I had that we're like, oh, wait, we're going kind of back. But how can we tell the same attitude of, oh, no, I'm deflated. But with a totally different pose than this. This just feels like an evolution of arms and this. And I feel like if we're here and he, again, legs go in, like he wants to go back into a shell. And I like that he is retreating, but it's almost like, well, I've already exposed myself and turning away wouldn't really change it. I just want to make myself as small as possible because I am insecure again or embarrassed and that would be somewhat three-quarter, right? Like shoulders and arms down, head low, something like that. If that makes sense. Let me just double check the rest. Can I please do the house sal? Yeah. So the other thing to- Can I please do the house sal? I wonder if this is a bit too wavy. Can I please do the house sal? Because that, that, that, it's almost a bit orchestrating, like a conductor. Can I please do the house sal? And especially stuff like that where it feels just a bit overanimated where the finger goes up and has, not that it has an arc, but almost felt that way. Well, there's a little bit of, there's a lot in the finger. Can I please do the house sal? And I think it also makes him a bit too smooth. I wouldn't just say confident, but- Can I please do the house sal? Hey, maybe it could be a, he stays like this. And then the high is a bit more just like within this range of that move. And then it's basically high. It's like he's nervous and the hand is just less smooth. That's basically what I'm rambling about here. Can I please do the house sal? With a little bit of a tap. I just wonder, you know, if you want to have the evolution of this going to that is also visible in the timing and gestures. Can I please do the house sal? Yeah, you got it. But then he gets to do this. If I do a piece of bread on the bottom and on the top, please. I like that. That's all great. Okay. I'm not sure about this. And I don't remember if you had that in the first pass or the one that I saw before. Apologize. I can't remember. I just, this is a bit of a hmm, almost stroking the chin I'm thinking. And I think this could be a different acting choice. It's a bit more original. I know that's very easy for me to say. And then you just have to go up with everything, but. And on the top, please. Okay. But there could be something where he's like this. And then he suddenly maybe stares in front of him. The fingers relax, shoulders relax. And he has a look over here. Like he stays like around here. Arm is like that. Head is like this, but we can see the eyes. And it's more about the thought process in his face. Like you're selling the idea of I'm thinking through eye darts and then how his face changes versus hmm, I'm thinking with that. Okay. Maybe just throw in a piece of meat. And then I'll be careful about not keeping this too smooth. Just throw in that. So throw in, I would start for the next pass layering in head accents that are, you know, affecting also the chest. So a little bit of a throw in. I don't know if I can find a moment where I can just scrub, but kind of like, you know, throw in, throw in. But he has little accents like that in the head. Throw in a piece of meat in the middle with some cheese on it. That's all great. So cheeseburger. No, I said. Now here. Cheeseburger. No. Once he hears cheeseburger, what I would do is he's so relaxed now. Like this is his new self. Like, yeah, it's great. And the moment he hears cheeseburger, like his facade, his pretending breaks immediately. And I would go straight from this to that without, let me just grab here, hold on. Without the anticipation of going up and then down and then over there. This feels too overanimated. Cheeseburger. No. To me, it feels more like cheeseburger. Oh, no. Like he's immediately embarrassed. Like, oh no, he actually realized what I really wanted to order. So I would personally take that out. No. I said, how solid. And then just the ends, like we talked about. I think that's mainly that. I hope that wasn't too rambly. Sorry, I was kind of thinking and looking for thoughts and ideas, but the rest is really great. I even love this here. You might go a bit lower. Tiny base, it's not a tangent there. It's not exactly tangent, but I like the idea of this being the color silhouette. This works really well. And then you have this. Works pretty well. We are a bit close to that. Like that feels a bit more comfortable in terms of separation. With that, with the beat, listen. That works well. I still understand the structure. The picky thing that this line goes straight into the wrist line tangent. Cheese on it, you know? Why not? I love that. Cheeseburger. Yeah. And then you can get into the nitty gritty detail, but these are my kind of broader comments that, again, you don't have to do anything. It's just suggestions. I'm curious what you think. You can always email me and we can chat about that. 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 will be awesome. All right? Thank you.