 All right, let's check this out here. So you are mentioning another sound? I'm not sure if you need those separate sounds because if someone doesn't know how loud this is and it's like that sudden one sound thing and then the okay, I don't know. It's cool to animate two okay, but it might just be, I'm not sure if it's absolutely needed, unless you start adding a bit more ambient sound. The wheels rolling, stuff like that. Right there, as it comes down and then increase and you got the wheel sounds. I mean, could be all cool to add all that stuff in there, but just for now it's actually a bit loud in my ear holes. So you are mentioning more offsets? Yes. I would also look at more, this feels of all very stiff in terms of it's like one big unit going down. So yeah, so and it's also a bit simple in terms of one axis coming down. So you could also start with potentially, not to unravel all this, but you imagine a foot would be one foot like this, one like this, and maybe one hand, maybe one hand is just hanging on the other hand. One is on the table. I can't draw, it's not going to help you. But in terms of the starting pose is different and then you get into this, he might then put his second hand on there and adjust his foot just for some more complexity. But even if not, what I would do is as you go down, just kind of look at how you can break this up and maybe have the head drag more so that he's not just kind of moving that as one unit, it's more break up between head, chest and pelvis. Then at this point, you can bring the head down. This is cool. I don't mind this. I still wonder if the whole chair goes back a bit much given how fast and how far back. It's not like he's moving from here to here. That gives it momentum to go all the way to there. I wonder if you need and you also have some intersections there. So maybe you need to bring that whole chair over just a bit more screen, right? Because then you don't have to worry about all these intersections and then maybe the butt instead of going down like this, you continue this trajectory to give this a bit more momentum visually to go over there. Or you just don't go as far. It's probably easier to just not go as far here, but I'm going to leave that up to you. Yeah, my main impression watching this is that this was a bit stiff. The beginning could be a bit more complex in terms of rotations, even if he's three-quarter towards us and then gets into this, it's a bit more of an interesting shape change at the beginning visually. Then I wouldn't roll as far. And then this here, as he does this, you're going to need some shoulder and chest movement as well. So as the arm goes up, do you want to, you know, is it going to be proceeding by a lean in or you're leading with the chest and the head leaning over there? Then the arm goes up or is it the arm first? Is it going to be a head turn first? And then it says it. Okay. Just kind of think about your acting. Also, this given an IK arm, you're in a very straight path. This is very straight, so more of an arc. But as you move out, you want to involve the shoulder and because of the shoulder, the chest and because of that, parts of the pelvis, as the hand, let's go with the knee, the knee can kind of come back in depending how much pressure you put on this knee. And you let go of that pressure. How is that knee going to react? So just from the mechanics, it's going to need a lot more. This feels a bit too simple there. But I'm still curious if you need this. Okay. Just because the sound is not super clear and it's just, it just has sound there. It's not that I'm opposed to just adding sounds, but it just seems like story wise. I think this could just be sitting down. And then that's it. And now I'm wondering, with this okay, like, what does that mean? Who is he saying this to? Where does, where's this coming from? Like, what's his state of mind to say this? Maybe, you know, if you had an arm coming in with a stack of paper and goes or two arms in a ginormous stack of paper, that all of this working and goes, oh man, okay. And then maybe here, this makes no sense. I'm just saying this could be something with a coffee machine. And he does this and goes, okay, and then reaches out for the coffee. And then he would push with one leg off and roll himself back with the coffee mug. And then he gets to work. You know, like, if that would be the whole story of, okay, hold on, let me just get ready. Okay, let me grab this. All right, now I'm ready to actually work. And this would be a longer piece involving this. And then you could speed this up a bit and just speed it up through this section. This could be one whole shot. But again, I'm adding a ton of work. So then with something like this with the story beginning, then I will kind of understand this. Now I just feel like it's an added thing. But at the same time, if this is just an exercise, you're thinking in terms of just add something, work on mechanics, go through those steps, then totally fine. If this was for demo reel, I would just make this a bit more involved. And it could be fun to have those arms in there with like drag and overlap of stack of papers and kind of sliding maybe, I don't know, there's some cool business you could add there. And just the complexity of him turning and turning around one leg down, one leg up here, and then push himself off with a turn and then getting to work. Just also visually, the body language, how through all of this, it's slumped down, grabs the coffee, maybe drinks it quickly or whatever he grabs, right? Could be baby, could be a snack. And then his much more upright comes back and then is full on into whatever business it is. Maybe he just has to stamp those things. And then it's stamp, stamp, stamp, stamp, stamp, just in terms of visually how you could have interesting contrast of what the character is going through. But again, that's a lot of work. I'm rambling. These are just my thoughts seeing this. All right. Thank you. All right. Thank you.