 All right, new shot here, no sound. Zoom! Uh-huh, a Sajin! Well, could totally loop, she would do this forever. All right, cool stuff, like overall I think it's very cool, it's very dynamic. I think I have a question and a suggestion I would say at this point, let's go back. So, let's go one by one. This is cool, I like it. I'm always a big fan of entrances, I think this works. It just feels way enough, I like the bounce at the end. I wonder if there could be maybe one, potentially one frame in here and then instead of this it would already have a slight foot roll squash, just to kind of feel that connection. There's something with this that almost feels soft to go from here to here. Maybe it's also because it doesn't look like there's full contact. Not that you would see that at that speed because then we're covering the foot but I think something closer to that, you know, like a contact like that here maybe, for sure flattening this. There's something ever so slight soft but it's more like a feel and seeing it but I don't think it's a shot breaker. It's just kind of like I wonder if we could push out a tiny bit more then I think it's a bit of a bummer that we don't see this foot. There's a lot of stuff going on here that I wanted that if we could clean that up a little bit even taking this out. Well, I mean you won't compression here. I'm kind of reacting to this. This doesn't feel like a strong grip with all the space here but also I wonder how painful that would be to rest your fingers like landing and resting on there. But I do like the residual, the energy and the movement. So it's not like there's full weight on it. So I do like that. I'll probably have a slight bimbo going down this way. So it's not this, even this. It's not that it's this way but I think we can push those. Whoa! Hold on. Hit the cursor here. I could push that curve just a little bit more. Like polish yourself. But I think in terms of feel, maybe feeling like there's less of an ease in. Like all I'm seeing is this and then that and I think if we had an early entrance and then already more of a contact impact flattening here could make this a bit stronger. And then watch out. I don't know what that wobble is and the shadowing and stuff. You know, like stuff like that. Watch out. That's all cool. I like that little look over there. Definitely better than a default eyeballs, you know, in the middle of the skull here. I think that's cool. We'll offset asymmetry. I think that's cool too. It's a bit even here. I think we could potentially move that out a bit more like this. Just kind of push that asymmetry a little bit more. And then here's my first confusion. So this, because I don't see anything in your email about stuff you're going to add and that would be my suggestion. Like is this anything where she's getting ready and then suddenly stuff hits her or something and she blocked it. Because right now it feels like, why is she doing this? Or am I missing something from my frame here? No. Watch out your clipping plane. I don't see anything, right? I'm not missing anything. So this feels more like she must have blocked something. And is this a continuous like a laser blast? Is this couple of hits here? This coming out of nowhere and her specifically looking here with nothing being here. That's a bit confusing. And she is, like if this is, this to me feels like some blast is hitting her and she's blocking it. And then right before here, that's like the blast explosion that throws her back. This doesn't feel like she blocked something once or even if it's continuous and then she is jumping because there's no compression as the patient push off extension. It's just she suddenly pops back. And again, I'm checking. I don't see anything in a previous conversation either. Maybe I missed something, but that's what I would add here. It's like something is happening here and then flash that pushes her back. What's the rest is cool. I like that we have this that she is looking. It's not just I'm, you know, bouncing around. I am now looking at what was hitting and threatening me. I do like that the fingers are actually flat here. She just holds it here. There's some nice sparks here. And then it looks like she has a very deliberate look over there for something that follows her. Maybe it's stuff could hit her here. Then again, watch out. We are she has a push off here. Maybe could be a moment of staying maybe up here longer and then waiting before you compress here and use that as the push off. Meaning that you're here and then we see a distinct down and up. Again, anticipation. So this just doesn't come out of nowhere. You know, she just she's fully bent over like how is she she would have to push the knee down. She's already extended here. She can't really push off with the arm. This is really, you know, further out. Like how can she propel herself up like that? So I think having a moment of going down that bends the arm and then strains the arm again that pushes her off into this. And then the legs help to do that. I think it's going to make the mechanics just a bit more connected on something like this. I would add just as a as a temp visual in my awesome perspective here. I would add a grid ever so slightly so that once we're here where there's nothing visible, you can't understand what is going on. There's a lot of popping here with your shadows. And I'm curious if there's anything else that continues in terms of a camera move. And then she has the push off. And this is tricky too because this feels like what is she jumping or is this the camera? And I see is that the FOV so you have an FOV change then because this feels like she's jumping, but we don't have full extension on the legs. So we don't quite understand what is what camera or no one's going to see this once you just have the finished product. So be mindful of making the audience understand what is a voluntary move. Her pushing full extension legs for push off or is this a camera move? And then again, this feels like this is all cool. Like I like the moves. I like the timing. She's a little cross out here, but again, is she looking at something definitely cross side? And then it's now it's at camera. So, you know, it's kind of like that that's again, I know that's a massive shock. This is for me like a pet pee thing. We are establishing that she's looking somewhere else. So this is the world and now suddenly we are POV type of thing of like I'm the attacker or just is it's like a thing of took camera and then trailer name, you know, like title name after trailer type of thing. I don't know, but I don't see any clarification in your email. So I'm just kind of looking at it the way it is. But yeah, that's kind of that. I'm not super worried about the animation. I think it's already cool. There's good timing in this. It's just every now and then. For me, it's more story and context and understanding what is going on. Versus, you know, like animation is bad. The timing is bad. Posing is bad. To me, none of that. You got some clear silhouette as well. I like the twists in your body. You have good poses. Even here you have asymmetry in there. Overall, like I like all that stuff. I think clearly you know how to animate. So I think if you give me more context and like a little blueprint of what you're trying to achieve in this, I think that can make and go through email. We don't have to do this as a submission. That's free, obviously. We can chat about that. I think that's mainly that. So yeah, just think in terms of make it typically what is going on, what is she doing. And then also background stuff. I will keep going with buildings or maybe skies so that anything where we're doing this, I see a little bit here. But so we really understand what the camera is doing, especially doing moments like this or even moments like that. Again, this helps. But we can go a bit further. And that's kind of that. Alright, thank you. Alright, 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. Alright, thank you.