 Alrighty, let's bring down the sound a bit. Let's check this out. Nice run. Hold on. There you go. Yeah, it's really neat. I mean, if you see, you know, the picky things will be... The foot will be slightly off this way, aligned with the shin. Not flat, so that, just on that contact, it's slightly off and then flattens. Stuff like that for polish. But it's, you know, it's fairly fast. It's not like it's breaking the shot here. As always, my notes are, you know, a bit of a mix between, ah, what changes? Like, eh. Something to think about. A little of the looseness, and this is really good. So the picky thing will be the... The audio that's not quite matching this. Especially here, that first one, I've got to put on some scrubbing here. Hold on, it's a longer clip, but the scrubbing is a bit off, but... That, that, eh. I would at least have something where you open the jaw a lot more. And then, you know, a wider or more open mouth to make sense that it's heavy breathing. Till here, basically, right? And even here, eh, that is not quite there. For the woo, it's the usual thing of, don't go back just one axis. I would have a little bit of a woo. You can anticipate with a slight rotation in Y, and on the way back comes back into a bit of a twirl. That's cool though, I like that, that has an angle. So it's not one axis, that's great. On that way forward, you're going to put more pressure on the hands. So as you go forward, there's nothing really in the fingers yet. So I would tighten, start to tighten the fingers to show that there's more weight in grip on these. And then careful, like that forearm points this way, but then the hand fingers point this way. So I would take that and put the fingers more here. Not right in front of it, it's a bit of a weird silhouette. You can still offset that a little bit. And even this one, you might have to bring one over. That makes a bit more sense. For these, as always, facial stuff is always very twinned. So anything you can do where you favor one side potentially, just to give it some asymmetry. That's cute. It just feels a bit slow. I think you can have a bit more pep and zippiness to those moves. Same thing, just asymmetry in the face. I like the contrast in timing there. That's pretty cool, I like this. You bring it up and then you got a body move as the arm goes down. And then body move as the height changes. And then going back straight. Yeah, the only thing is asymmetry again. This would be a great moment to really push that shape here and give this almost a bit of a line of action in the face. If you can, I don't know, maybe that's a big limitation. On big moves like these, and by big moves I mean like head, eye moves, right there. That you can probably get away with a little half blink, just so it doesn't go from one massive corner to the other corner. It's a little bit of something in there. And that blink is a bit A. Again, this depends on the rate, but you don't want to go half. Not that it's completely half, that's a bit lower. But usually you want to have maybe a 10% lower influence and the rest is upper lids. And then I would ease into this a bit more, you go from here straight to here. I would ease into this a bit more, then you can shot, bam! Take probably, you don't ease really into the close, you ease into the move and then shot. So it's kind of small, small, bigger, bam! And then when you open it, you can ease out of that maybe a bit more. But it's mostly the ease in, oh that's not too bad here. Congratulations! It just feels a bit even in terms of the timing. Let me see what this is. One, two, three, four. One, two, three, four. With a little ease in. I like that ease in though, it makes it less than organic. But I think you can take maybe a frame out of the closing. I will take that, basically get this guy a bit lower. Take this guy out and then open there. Just want to avoid repetitive timing. That's fine. Probably the same thing here, huh? Yeah, that might be a big thing. I personally wouldn't do that. It's kind of, you want to keep the lower list more engaged. What is this? Let's see, one, two, three, four. One, two, three, four. And that's it-ish, yeah. It's kind of offsetting. Usually the closing is shorter than the opening. This gives it a bit of a robotic feel. And then for extra polish, you would have these guys not at the same height. One would be a bit higher than the other lid. Not super offset, where it's a Pixar blink, where at this point this eye would still be closed and this is this open. But it would be opening a bit more easing into this. And on this frame it might be, you know, here and the other one might be here. And then here you're almost the same and then you kind of reach the same point. Just slight variations. Not overall asymmetry in the face. Same thing here, where I hit the mouth and it washes. Yeah, almost better. But doing those big, I would definitely open up the jaw more. Good walk though, run. Watch out here. We're getting a bit too pointing this way, forearm this way. Wrist in the hand, because it's a bit broken. So you want to align that wrist a bit more with the forearm. And this could be either, you know, the hand is more over this like that or the forearm is a bit more like that with the hand here. I think since it's a bit more energetic in the audio there in this just sound energy there, I will have a little bit of a rotation up in the head. Where? Where? And even on B I would go slightly up. This feels a bit more like a separate head move while the mouth and the jaw do something else. Nice turn. I like that. Cool details. Watch out, you're getting, it feels like into IK land where you got a bend into a stretch to almost a full extension. But there's a lot of movement and angle change in the forearm while it's not really affecting the wrist. You're going to have to move for the hand. You're going to have to move that around while the pinpoint is still the fingers. This feels a bit straight. It's not too bad, but it feels a bit straight through here. It feels like an IK arm, so watch out for your arcs. Especially through here, it feels like it's doing this versus arcs. That's cute. I like that. I like how you have the body lean over with this for diagonal lines. It's generally always facial offsets if you can. Like asymmetry terms of shapes. It's like what the mouth would be angle in different, like favoring one side, eyebrow bit higher than the other, one little bit bigger than the other. Careful in general, you have that a bit all over the place. Almost, but it's not too bad, but just again forearm wrist. So like, you know, when you have an arm forearm, but then the wrist is way too bent the way that hurts a bit. Watch out, this feels like a very strong move this way. And then boom, suddenly it falls down here. So either don't go as strong to the left, so it has more of an arc like that, or this goes out off-screen here. Same thing with this one. Starts fairly strong this way. It feels like that's going to be your arc. And then it's true. That's okay. It's not super huge in terms of a zoom. It almost looks like you want to go a bit closer. You can maybe all the way up to here. Oops, here. Just underneath that. Okay, we're zooming in. Okay, to me it feels like you want to go from this. Hold on, hold on. You have a slight zoom, so let's pretend we're here. It just feels more like a pop. If I have this, I'm just drawing something to have a book one for my drawing. Let's say we cut to, let's say here. How about here-ish? So it would be from here to here. See, this feels more like it makes sense to punch in versus this just feels more like a pop. Hope that makes sense. Careful with something like that again. You've got your broken wrist angles. I do like that. A through has a slight angle there. So it's not all one axis. It has a little slight complication. It's small, but I love it that it just helps giving this a bit more organic feel you know, simple quote-quote cheap in terms of just simple moves. But again, watch out for those angles. Like that hand would be here and fingers would be more like that. Even this guy with more lines with that forearm. Same thing here, just asymmetry in the face. Congratulations! What was that here? Is that a pop? That's a bit odd unless something else is in between and that's just the way it's presented. That's a bit of a weird pop here in the zoom-in. That could be a bit of a... That's not the back, was the hands. No, he does let go. It feels like that drop here. You can take a couple, what's it called? A couple frames out. A bit of a harsher plop and then it can have a bit of an impact in the head a bit of the eggshell wobble. That's great. That was fun. I like that. It's like a madman joker. Yeah, it's like so general. Watch out your blinks and asymmetry in the face but your body's got a lot better. It's really cool, especially with that walk-run here. That's all great and there's little moments where you move an arm and you really incorporate the weight shift or just the change in the body with a counter on the head and having more diagonal lines and less one-axis simple rotations. I think it's great. I can see a big improvement in this one. Alright, and that's that. Thanks. Alright, there's an email. You can sign up. You can start whenever you want. You can submit whenever you want. You get 16 submissions. Either way, a like and subscribe would be awesome. Alright, thank you.