 Right, so let's watch this in full here. There's no sound, but awesome animation. Love that he then runs in an arc. All right, even that thing closes. Okay, I think that's all very cool. The only thing when I was watching it for the first time, I kind of missed these type of things. Everything else is very clear. Yeah, I think that's what really works just because I was pickily thinking, what if that's a word pickily? The arm was out here for clean silhouette, but then we also have a color silhouette. Maybe that index is right there forming a tangent, but it's at the very beginning, it doesn't matter. It's the six to eight frames. You know, we don't really register that much, so by the time we see it around here, I think that should be totally fine. Because this totally registers as a sneak, carefully watching. The only thing I would say, this is a question for you, I don't see this in the email, in terms of how you're gonna light this. My thing is, he's already, if I switch tools here, he's already fairly looking this way, almost kind of looking there, right? And then he kind of looks away, but it's still very much in front of him. And then he has a look, but then that look is really high. And then he realizes that. Now, this might be also super picky, but that's my only question then. Are you gonna have something where, let's imagine this is illuminating stuff? But even then, that illumination, you know, or maybe this far, it needs to be something where, if you're gonna light this. Again, this is extremely subjective, but I might as well think out loud here, tell you what I'm thinking. So when you do this, that if you had light, you know, and then you have maybe other things in here, and then they would cast some shadows, but then this would have maybe some, something, I don't know if it has diamonds on it, or something medley, so that there's suddenly like a, like a shine because of this. And that's when he goes, oh. But then the thing is, I'm looking at this, is looking around, clearly he should be seeing this. Then he has that reaction. Oh, and I'm so invested in him looking and expecting something along these lines, right? Around here, something here, that now he goes, oh. And by the time I'm going, why did he stop? Oh, he's looking down, click and this fell. I'm like, what? And then I'm seeing this. So this might also just be old man JD, not understanding things, which in a way, it's great. That's a, it's a great audience. If I don't get it, then, and you make it clear, then it's clear for everybody. Just imagine I'm the worst audience. I would still probably bring this arm out a little bit, so we're not too close for tensions or just kind of negative space there. Even here, even if that's not too bad, doesn't have to be always super clean in front of it, because now you're kind of avoiding the twinny aspect, but I think it could be cool if you would do like a moment of pause instead of and keep walking. It's almost like, oh, a little bit of pause and then a step, but then you would have something bigger. Maybe this platform is bigger or it breaks like something that we really understand. Oh, because right now that's the only kind of visual thing that we have in terms of something happens. So I would just make that event bigger and then he realizes, I mean, worst case scenario, I know this is a cool surprise. Worst case, you start having little crumbs and dust and stuff coming down, which could fall down on this and then start some sick little sparks and goes, what? But that's totally optional. My main thing would be, I think I would give this a moment of, oh, and even if it's like five frames, oh, step clink and make that a bigger deal. Then it's, and then here I would do same thing, just a bit bigger and why not? This is totally subjective, thinking out loud. What if he's doing this and then as he's looking back, he goes, oh, before this all happened so quickly, you have a moment of clink where either this platform goes down again, a bit lower, like almost down to here. So he will go this much lower or where is the here? Okay, so we have this and this. So what if now suddenly this platform goes lower? You know what I mean? Where we are, can't see it, but you know, like it dips down that much, the whole platform and you go, oh, now something bigger is about to happen. Ka-clang and then it falls. And then he does this, I do love all of this. Like animation wise, I'm not really worried about anything, you might bring this down lower, again for cleaner silhouette. And I love this. I love that the speed is here real in an arc, but you might reduce the amount of legs here. I think this is cool, scramble wise, but then he's tried to get there really fast and I think that's to me personally, subjectively too many legs. I would just go into like a maybe one or two and maybe here, let's see, here and then bring them back here-ish. Personally, I would take the amount here out and here. I could be one more. Then he has this, that's cool. I love all of this here, like the bounciness and the looks, the thought process, great. Okay, okay, and we test this, that works. This feels a bit soft, how those hands transition over all that, I wish there was a bit of a sharper move and a bit of a sharper hook into. This is something that feels a bit soft there. And then I would almost go maybe here, less up in the shoulders, so that on here you have more, you have just more range to go. For me, this is the same as this in terms of this area. So for more contrast, then he has that, that's cool. I love that, as a surprise, I think that's great. These fall nice and heavy, there are gold bars. His impact here, you could have his eyeballs still here and then stretch and then slap back in his face. And then as he falls here, you might have, you're starting to, but I think here we can have them a bit higher. Really cross-eye rolling back in his head. You almost seems, I still register like the full normal face until the end. Timing's great over the torch as well. Let's see, oh, that's cool. The fingers are great, the details. Again, for here, just being picky. Little tangent there, you might as well bring that out a bit, it's not just this, like you have a tangent right there too. So it could be that lower, you know, it could be maybe it lowers to here and then here. So we have elbow right there and then this is clean. This, I mean, there is fire. I'm getting in, this is like the pickiest review ever, but he has fire here and then the firewood would stay up straight and then it's kind of behind him. Was it start burning his hand maybe? Hold on, let me just think about something. No, that doesn't work. Sorry, I was thinking in my head, what if he goes, oh, puts the torch in his mouth? Out here, so then he can hold, hold, hold, still here, and then it's here, but then he goes, oh, then it would fall and then he would have to quickly grab it. I think that adds to much of a new thing and a story point, it would land in here, that would be kind of stupid and then he don't have that. Forget about it. That's just a weird, picky thing or maybe you come up with a good idea, something, or maybe just, we still have it visible here and then we have a nice lighting, but that's mostly that. And again, if I'm picky, it's almost like I wish the knees were like, this was just a bit further back. That's, what is this like? You know, where we are freeing the hands in terms of the look. Again, this is a bit close here, but then would he be too far away? I mean, it would have a nice forward lean and then when he does this, it's maybe so strong that then he is up on one leg and then plops down with the other leg to then land in this. So we're not so, IK legs now and now they're stuck. See how they're stuck throughout the whole thing? It's a little foot roll. And even this has a bit of a tangent. So even if you leave him here, maybe that foot could be further out here. I know this is like the picky slash tangent review. And even here, it's almost a bummer that it's aligned. So bring one up, bring one lower into this. Anyway, picky stuff mostly because it's really well animated. And the awesome thing about this is that I remember when you were at the Academy class with me years ago, I mean, you were already good, but it's so great to see how you've progressed and just how much of an awesome animated you are. I mean, you're already great, but this is getting so much better and better. It's so great to see. Anyway, I'll leave it at that. And yeah, let me know if you have any questions. 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.