 All right, new version here. Let's check this out. It's good. I like that ending. Now, interesting, in your email for this with your arms, you said you were going for this. Interesting. Let's turn that sound off quickly there. All right, that type of stuff. That's interesting. I wasn't reading that, but now that you said it, that's all I'm seeing, at least in the legs. But the thing is, I don't know, to be honest, I'm not sure. I'm not sure. I can see it in the legs, but only because I know it. I still feel like it's a bit odd how the arms just come up and stay there and then we can kind of muddy silhouette there. I don't know. Personally, I will probably find something else. But then again, I feel like that gets now very subjective. I would ask a bunch of people who have never seen this before what they read into this. And if the majority says, yeah, that's that's a duck walk, blah, blah, blah, we're totally fine. Then you can keep it. I don't know. I wouldn't put it in there, but it's only because I'm not familiar with it, which doesn't make me right. Other than that, there's something else to us. Be careful as you come down here. She still has that kind of floaty moment on the route right through there. Because it's quite the jump up and then down. And I will probably compress and continue that arc down so that we're not doing this flattening out too much. We have a little bit of an up here, but then also careful you have your route that goes up, up, and then suddenly down, down. If you look at this, you can see how harsh that that arc is. It doesn't have a moment of, because you know, it's not, you have a little cartoony field to it, but it's not crazy cartoony. As in, you can have moments when someone goes up and comes down pretty fast, but there's still the idea of when you are pushing up and you change direction into a fall, that section still has that little bit of ease in and down. So it's not doing this, but has a bit more of an arc and hold a little bit. And in this case, you can push suddenly fast because you can argue, well, that's only the leg muscle and that's the sudden push. But after that push, the way for her to come back is through gravity giving this time. Now, how long something goes up and then spacing wise starts to ease in and he's out again, that depends on the style, right? You can definitely make this cartoony. But when something just goes up and then straight down without that moment of holds, then it just goes, I hate to say it goes against physics, because again, physics can go out the window depending on the style. But if I watch this apart from the sudden leg, it's not super crazy cartoony. And that's why I feel like be careful there's a physics and body mechanics where you want a little bit more weight going down and then as this goes up, you want her to stay up there one or two frames and then come down and then it can be a bit sharper because she's kind of doing her leg thing. Not sure if you love enough time to do all that, but. And then the other thing too is that she is traveling fairly slowly to the left and now she's suddenly accelerating through there. Again, this is physically not possible because her leg is right below her butt. There's nothing for her if her leg was back here, she could push herself forward with this leg, but there's nothing to push herself forward. She can't suddenly accelerate here. So even though it's a cartoony land, how it's still have, there's certain elements in terms of mechanics and physics that I would be careful about. So I would just work on that root, compress a bit more because of the weight, give us enough hang time on the first up. And then maybe what will happen, because you're going down more up more is a bit of a faster speed throughout this here. You might have to readjust where the legs are, but at least it will blend more into that speed up through there. You can have a little bit of speed up because it is still dropping, so you're going to have acceleration, but this feels like a sudden pull forward. What's also happening is that you're going forward here and doing a jump like that. So imagine you're not going forward so quickly, it would actually flow into a nicer arc for that jump there. I know you have a little bit of a continuation on that leg to give it a bit more asymmetry, but in real time, it seems a bit pose to pose. And it's mainly, even here, I will probably delay this leg a bit more to get a bit more of a cross. So it's not forming a tension right there where that foot is right behind this. It gets a bit twinned through there and there. And then that's the only thing over two, three frames that continues. I would delay this. Personally, I would delay it a bit more. So imagine this leg could be here. And so this leg stays, this might be a bit more into a cleaner silhouette. This can stay, right? But then imagine this leg is still a bit there. I might go too far in terms of the offset, but this leg does its thing. Oh, I deleted it. I hit my hot key for deleting all frames just because I'm so used to doing it. So imagine this stays like that. This stays a little bit more like that. We are still a bit here, still a bit here, here, here, and so on. I think you'll just have just enough of a difference in your posing. And then we can still end up somewhat here. And then careful here, it gets a bit sticky in your foot. It's getting back on. You can see how that toe kind of stays put there. Again, for something when we free drop, it drops and drops and you don't want to ease in either. This is the weird thing. She goes from here, here, here, ease in, hits. So make sure you accelerate. And then the legs, you know, they will go down, down, down, down. She hits the thing and then they will continue to go down. Like, there's no... If I look at this here and go with the heel, there can be a bit of a drag. Sure. But now we have a sticky, a full-on sticky on the heel. And then it goes down into that. I don't mind that it has a sudden acceleration because that's what happened because of that impact. But I'll be careful just that moment where it starts to stick. Same thing with the other guy. It's a bit sticky through there. So I would have this continue down, down, down, down. And then you just have a sharper move down there. Careful with the head. Same thing here. That nose is here. It goes here. Do you check this out? Somewhat right? Somewhat tracking. You can see how there's no compression in the neck on that impact. And then as we go down, nose is here, nose is here, here and so on. So if I go fancy here, colors, I feel like you feel landing. And again, don't ease in. And that's your compression on that frame. I mean, up here, I will bring the shoulders higher. Everything is stretching. Even that arm could be a bit straighter. Then on that compression, that's when your shoulders go down. But then I would cheat the head lower. Get a neck compression so that it can go low to this. And then you can still have your arc. But then when you go down here, it has to continue to go down a bit more and then back up. I mean, that would be a wrong frame here, right? So you want a bit of a compression in that head. So it doesn't have that feeling of we're here, here, here, easing in same height. You want that the body to compress down. And then you don't want that head to go like this. You got to have a bit more of an arc. And then I like that. But then we're back into really pose to pose. They kind of, it's very twins. And they hit those poses at the same time. And then they relax out of that pose at the same time and stop at the same time. So definitely look at offsets. And that is that. And again, that section is a bit more subjective. So I would pull, ask a few people and see what they think. I don't know. Again, personal preferences. That's when I feel like, eh, I don't want to impose that on your, on your shot. That's it's your work. You can decide. Alrighty, if you keep it, I would still keep the arms just a bit cleaner and not have that here really exaggerated. And if that means that you got to go a bit more like this, imagine she's really holding that guitar and then go from there. Actually, one more thing since it is framed through it. Watch out. If you got an arm, that's doing this. Here we kind of locked. I will keep that arm higher, hold, come back down, come back down. And then you can come back up here. There's a lot of holding here in your arms. So you shoot up and then we're holding here a bit long. And then it kind of holds with almost pivoting off of that wrist again. It was sticky. So watch out for your overall spacing. Same thing here. Also watch out. You don't want an arm bend that goes straight to camera because we're losing the structure of the arm. Now this arm looks shorter than this one. So if you are bending here, I will keep that bend a bit longer. And if you're reversing, show us that elbow. Let's turn this off, right, either up or down. And then if you shoot up here, boom, boom, see that how we're stuck again. You go from here to here. Next frame should be here. You can overshoot it high and then come back down if you want. But just kind of do a bit of a pass on your spacing. Alrighty, thanks.