 All right, we are back with the turn around and walk. Definitely better. What I would still look at, it still has the stop and go feel to it. And I think where to me, like the very beginning, I would also practice a little bit of moving holds or a keep alive, where at the very beginning it seems like there's not much going on, if anything. And you could have, since he's leaning that way, this way, you can imagine there's gravity and everything going this. So if that is where you're starting your move, you could have, so if this is your start and you go back to the beginning, someone is getting here, you know, you could have your body slightly straighter, neck a bit here, the head a bit here, just a bit. So there's a little bit of a moving hold down, a little ambient move, or you can have a little bit of left and right in this. I would also practice a little bit of that. So you are really trying to get out of your static pose, movement, and then stop. So again, same thing here, we're getting to this. And I see that your body is stopping, but then your head continues. So you're trying to get out of that pose to pose. What's happening with this is that you're falling back into another area that you're starting with is where things move separately, as in nothing's moving, but only one body part. So you have to balance that out a little bit. So on a head turn like this, I see some stuff here in the neck area. I think you could probably push that a tiny bit more to loosen up just this section. As he looks up here, especially when you scrub it, you can see how those arms, they both just kind of move over. So you can look at this is like when this arm is like that. You have to look at it in terms of this bit of a balance between gravity and posing, right? So arms out like this would be something intentional because otherwise if it's just relaxed, the arms would be straight. But what happens when you have both arms move like this, it feels like they're just one connected piece of moving over. So once you have your head move and your body move over this way, you can have this come down. I think I like that, but then I would have this come down as well. So not going this way, but the other ways. You can droop a little bit more. Fingers can cross into the thigh here, it's still okay. And then when you continue with that head, I would still have a little bit more separation in here and have that come up a little bit more. And you can continue with this in your graph. You know, it would do a whatever rotation you have. And right now it feels like you're going up and then we're really flat and then you go to your next move. And I will practice something where it might go like this and then keep going a little bit and then keep going there, really almost to a flat, but not really. So you really practice that moving whole move into the next. There is movement through there. So it's not just the neck. And then when it's done, you have some body move there. I think that's cool. And you have a little bit of an offset here in the arm where this moves more than this. And that's what I would look at as well. Right now what's happening is that your head is moving and then I see this moving as well. So I think, again, it's this very fine line where you're gonna have a bit less movement in here, maybe two frames of movement in the head but this doesn't quite react as strongly. You could have maybe a little bit, I mean, it's kind of arbitrary, which one, but to me it feels like you have a move like this. I would keep this one fairly still and move this one first as well. Meaning this two frames, then this, then this. Just because if I, again, if you watch this, it's, again, more apparently scrub, see how those arms are moving to the right at the same time. Again, giving this this separated feel like this is one piece that has just a joint here. And then this is moving very strongly. So this is a separate piece, this and then these together. And then that's the stuff that is holding you back. So to me it would feel like two, three frames on the head, these offset. And even on that terms, it's a really big turn that even at this point, you've already moved the upper body just a bit more this way. It feels a bit head turn. That is just a bit too separate, really pivoting off of here. Where on this, I would already move the lower neck a bit more this way. Right now you have a head turn and it stops and then most of the body moves over. I would start that around the mid part. So you take away that separation of just that rotation through there. Again, your ending, it still feels, you're moving over and then everything kind of ends. The head comes down, this is stopping and the body is stopping. So again, if you scrub, you can see this. Like I feel it when I see it, but when you scrub fast, it will, you can see it a bit more how things suddenly come to a halt as opposed to you move. And you can still move the whole body was it's, this is big, this is small, this is small too, right? So as you're shifting the way over or you're shifting over this way and then the body as well, this can still continue. Same thing again, it can move almost to a stop and continue versus a full stop. Because this is gonna take longer to come to a stop than these, because these are smaller. So let's wait. So keep going with that so that it can really transition into your next move. But again, when I look out and the audience getting off here, when you move here again, you again have that thing of both of them are kind of moving together. There's more here, but it still has that feeling of, again, both arms moving together, body and the neck goes up. It still feels like it's very post to post. Let's all move together out of this. But once you're here, it's definitely better. Watch out that we don't have too much of a bend straight in the lock. Same thing with that. I think we are a bit strong on that reach. It feels like we would be here and on this we might still have a little bit of up and then flattening. It feels like we're a bit overextending there. And then through this section, I think we are too low for too long. Like he's taking the step and now even through here, he's gonna start pushing up. So to me, this would be a bit higher in your route. It's not so bent on that passing. It's like we're just doing this straightening right at the end, which to me gives this section too much of a floaty straight feel. And then this is a bit too high. Human legs, we're very lazy. So on a regular walk, this would be lower. So you can have this really just, the toes are almost grazing the floor. That feels more like he's about to step onto a surface. So it feels a bit unnatural for a regular walk. And I think your arm is too, I'm swinging over too soon. You have a little delay, which is great. But then I would keep it a bit longer, a bit longer. It's a bit too in sync with that leg. And if you look at timing wise, what's gonna happen, I feel like at that speed and being already here, it's gonna reach this pose. Imagine that this arm is not doing this too soon. Basically when this is stepping, this is gonna finish the swing maybe two frames later. Arms are a bit later on this. They just kind of swing, they don't lead. Obviously unless this is a very specific move. So even this I would delay. And on a first turn, this feels more like he's reaching for a door handle. So this would be a bit more relaxed, a bit lower on the swing. Cause you only now started to move. So this already feels like a full arm swing after four or five steps versus this is your first step. So this is gonna be low like that max here. And then this as you come back, I would hold not straight the way you have it here. Keep swinging up. Hold, hold, hold, hold, hold, hold and then back. And then this back is too fast. You're popping out of frame here. Again, this is more like a pendulum. One of vanilla walk is gonna go up and swing. You're doing, you're doing that. So up, up, up, up, hold, hold, hold, hold. And two, three more frames to get out and maybe with one frame in there. So just slowing this swing down. And then your head down impact here is a bit too harsh. So your head kind of stays and then suddenly it comes down. Watch the head right there, it's a bit too much. So you have to look at, this is the impact. Then it goes down. So I'll give this, you're already going down a bit too soon. I would delay this by a frame or two and then extend it by maybe three frames. This feels more like, this fast move feels more like it's he's stepping and stopping as in the body will stop. It's a sudden abrupt move which shoots the head down as opposed to just an impact drag overlap. All right, that is that, hope it helps. 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.