 Alrighty, let's watch it in full first. There is no sound. She sees that. Whoa, spiky things. They're Spoon. And... All right. Cool. Thank you for the email. So she's basically hearing something that's off-screen. Gets after it. It's a bit wobbly, not sure here, and then switches to the expression. Hands and fingers and face and tail not there yet. That's all good. So seeing this now with helper objects there, I think what I would do is also wait, wait with the camera, because the camera is already leaving her. And I would probably start with the camera once she's around here. So she's getting it. That's not, that's a box tool. This is a text tool. This is the wrong tool. So she will be a bit closer to this frame and kind of push the camera to start moving. Like that will be the first thing, just staging wise. And you might tilt down a bit so that when she takes the step here, I can bring up my player just a little bit. You can see that's the edge where she's not super high. No, so probably at this point just tilt a little bit lower so that this foot is maybe here. That won't give her too high. She'll be okay framing wise. And then that's all cool. I like all that. And that's all cool for the camera. I think that's all totally fine. Totally fine randomly. This seems like it's a dangerous thing, but she is meant to be more like a peppy character. I would just add some rocks here on the side to break up that if needed. I mean, it's all just there for context and to give her something to to jump down from. Just let me just add like an element of of danger. I don't know if you want that in your shot. I don't know, just throwing it out there. Generally, I would say if you're saying that something catches her attention, I like that it starts with the ear flick, but then I would double this the timing. If we actually, if I go doubles like 50% faster, let's see. For me, 50% faster for the jump works better. Let's see. Well, I think even what is this double speed? What is this? This is double speed. If I do double speed just for the head turn. Let's see. Huh? It's hard to judge when everything is moving like that. But to me, that would be the thing. Let's go back to normal speed where she has that ear flick. And then, huh, just a bit of a more alert, faster head turn. Or to me, at least twice as fast as you just saw, even. Well, twice as fast, but then wait a bit. I would give this, basically, you make the head turn twice as fast, but then it starts at the same time, but will end sooner. And then hold and give and hold that extra time you have until this starts. And by this, I mean the body. That way you have a flick turn, huh? And then she goes just a little moment of thought, not a thought process, but it's more like, hey, I heard something. The wheels are turning and said, let me decide to go versus just going and it just starts going where she feels a bit lifeless or thoughtless. Thoughtless is kind of the wrong word. She's just not quite, she's more like a machine just going through ABC. Let's see here. I mean, all that could be if she's peppy and happy. I mean, you're saying here that she might do a bounce or something before she goes. Let me just see here. She's relaxed and then hears and turns to look at something that excites her. Maybe it's a camera or a friend who runs and jumps off screen. It's intentionally vague. All right, all right, that's in the email here. OK, so you're saying here, I like to add a little more action before she starts to run in the beginning. I would recommend that as well, even if it's more like a she can lean back a bit, maybe a foot off the ground, maybe a nice silhouette here, both arms somewhat visible, just something like, but it could also be totally different where she can actually already lean into it. Hands rubbing her hands like, I don't know, like they could be something goes unexpected. Then she's already in that lean forward position to go. And I think at the beginning, it's OK with those arms, but then towards the ends, I would extend those arms more to get a bigger more of a swing. This starts to be a bit more. If you just look at the top part, she seems a bit hesitant. It's like it doesn't seem like someone that's ready to run and jump for something like that. So to me, it would be just you can start here and then on that, you would start having a just a bigger extension on the arm. So that way you have a nicer swing. Then you got that. That's all cool. I will probably start swinging this arms first could be this one. It was maybe a bit higher and then it's kind of like the right now. It's to me, it feels like the root is doing the turn while the arms are out. But you could experiment with her arms shooting back this one and then this one is shooting forward. So it's it's the arms are leading the whole twisting thing jumps off. So here and just generally, yeah, just faster. Seems a bit slow there with a wobble in the legs around here. Right there. What's this little pop in the leg here? And then you can potentially push that. I mean, what if she actually really holds on to those legs and then comes out into that again? Again, I'm it would just add a bit of a faster move, giving this a bit more of that energy that I think you're looking for. And then I will probably go lower sooner, at least with one leg and then bring that toe down and even this will bring the toe down. It's slightly offset at this point. It fills the bit to twins, but also kind of block you with that thing moving as one to give it an offset. And like one leg is driving that downwards move. Could be cool. And then I will probably go also just a bit lower and then you can maybe stay there. It'll give us a bit more of a pep. Boing, a bouncy thing. I might keep that leg in a bit longer. Just so how you have a bit of a in more interesting silhouette here, this gets a bit, I don't know what that is shape. And then at the end, she can come out. But then I will give it a toe out. That's my awesome drawing toes out here. And then she can always pivot on her toes to get into this position. And then I will probably bring up the root first, like this leg. Everything is pushing herself up and to the left for a slight balance change. And then the leg is off the ground for this, even if it's fast, just a little bit more body mechanics, physics there. Because that's cute here. That's super cute. All right, that's what I have. Thanks. 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.