 Alrighty, there's Sal, let's play it in full. Very nice to see you, Rod. Yeah, you too. You look pretty. What did you say? Very nice to see you, Rod. Yeah, you too. You look pretty. What did you say? It's very cool. Yeah, there's some good stuff in there. It feels ever so slightly referencey. You too. With just the movement. Yeah, you too. For a slight moment, look at Tom Holland. Right through there-ish. Nice to see you, Rod. Yeah, you too. It kind of depends what you're going for in terms of the style. I'm all for gestures that are off-screen. I do it like that, a little hesitation there. You look pretty. The only thing that struck me when I was watching this, that's why I had to watch it again, is when you get into that, it's a bit of that roll shape here, just how this bunches up feels just a bit much. To me, personally, I would flatten that. And I would, to me, I would reduce this. Not that this is wrong. This is one of those notes where it's just different. But this moment, it feels more like he's got sticky lips, he's chewing something, he's got glue on his lips, versus pondering what he should be doing. And then you get into very, this seems almost, this seems a bit wistly. I think it's a bit much, how much it's dialed in that shape there. I look pretty. I do like this pretty through the teeth. But personally, I would kind of reduce like one frame pops up there and the scrunchiness. You look pretty. I like how she reacts here with the shoulders and goes back. What did you say? And the only other thing here is that, What did you say? The say. It just sounds like it would be wider, a wider shape, even if it's at least in one section, right, for asymmetry. But it feels like that could be just pushed a bit. I'm not... Say? Like that amount of... I'm not feeling here. Again, is it wrong? This might again be just more subjective. But... Say? Nice stuff with the hair. I like how... What did you say? She holds on to that. This is really nicely polished already. Very nice to see you, Rod. Yeah, you too. You look pretty. And I like that he has the weighting, but he still takes steps towards her. Kind of close that gap a bit. And with the camera move, I appreciate this so you can understand what is going on. Very nice to see you, Rod. Very nice to see you. Very nice. Like this might be a bit much, like how much you push right there. It feels like the tongue is pushing or there's air. Just for a very nice... Very nice. Even this coming out over one frame. Personally, I would give it one more frame. Because your overall animation feels very naturalistic and not cartoony. Very nice to see you, Rod. Very nice to see you, Rod. Very nice to see you. And I would combine very nice to see you. So that it's very nice to see you. The very nice to see you has a favoring of outer shapes. So it's wider. And then see you is when you get together. Only just because if you watch the corners. Very nice to see you, Rod. There's a lot of peep peep peep peep peep. A lot of in and out. That gets a bit busy. Very nice to see you, Rod. So I would personally just simplify that a bit more. Again, even though it's more naturalistic can still kind of veer away from any potential reference. But the thing that happens to is that your corners go out and then bam, they'll lock visually in space. Or they come back, they're not... A little bit of a softness, a bit of an arc would also help. So it doesn't feel like dialing in shapes in and out, in and out. And stuff like that I would get into some asymmetry so it doesn't have that weirdly pinched look again. Just a little favoring of a corner. Yeah, you too. I do like that how she kind of holds with that look. I wonder at this point we can cheat the pupil to see this a bit sooner. Kind of like that. I know that's probably what she would do if she gets a bit exorcist. We could totally cheat that eye line just a tad. You look pretty. What did you say? What did you say? Even here it feels busy. I'm just looking at the shape here how you can see that pops over to the left one frame and then back in. Just watch that in real time. What did you say? It's just something busy. What did you say? Again, body movement-wise I think it's really nice. I'm curious how you got there. Again, it just feels a bit referencey. Really nice hand poses there, finger poses. So it's definitely more on the naturalistic side. But it's really nicely done. That's probably the biggest thing that sends out to me in all the other shapes that I mentioned. Very nice to see you, Rod. Really nice. Very nice to see you, Rod. The little up and then accent through there with the shoulder up and the hair falling. Yeah, you too. Yeah, you too. That feels very referencey. I don't know, maybe... Let me know the email. Did you act it out? Did you look at any other reference? It feels very life-actiony there. Me too. To a point where you can almost reduce one of the arms. You look pretty. Because that then suddenly feels more cartoony. Not that it's this, but it reminds me of that moment in there with his hands again. It's much busier. It just gets into that territory where it's almost like that starts to get pushed a bit in terms of a bit more exaggerated moves a little bit. That's cute. So my question to you is like, how far do you want to push this? Do you want to stay a bit more within that realm and therefore push his moments through here a bit more? Because you could have a slightly more cartoony. She's just kind of okay there. Here she's a bit straight now that I'm looking at this. I would probably favor the sides where he could have a bit of a tilt towards him because she's interested or a bit away because she's pretending to be not interested. But it's just a bit straight. I think we can push that a bit more just because there's some nice here and all of that is nice with the tilts. Alright, we'll leave it at that. It's really nice. Alright. There's an email. You can sign up. You can start whenever you want. You can submit whenever you want. You get 16 submissions. Either way, a like and subscribe would be awesome. Alright, thank you.