 Alrighty, Cycle here, let's play this. Going... DOOM DOOM DOOM. Alrighty, ready. That's your Cycle. Actually, what you could do is... You can scrub fast here. You can see that your middle one actually fits in here and you can put it all in one and then submit that like that. Let me do a cheat here. Alright, so I just... Oops, did I clip it? What did I do? So, if I play this... I should just play... Beep, there you go. It might be a pop. It might just be me. Yeah, that's probably the way it was recorded, the me pulling things. So, looking at this, there are a couple of things that stand out. For me, it's mostly the feet. There's something where you're slightly overextended on this. I feel like we're almost leaning a bit too far back. Here it gets better. The main thing that I have... When I'm watching this, it feels like your foot roll is just not activated enough. This feels like a very, very hard shoe where it's a little bit of foot roll in there. I know I'm starting with the details. Look at the bigger thing. There's just something about the clunkiness of the feet. It's almost... I know maybe that's part of the rig, but I don't look at it. I can't remember how the foot roll is if it's not able to do something stronger with a foot roll like this. It might just be that, but check if you can activate that and push that roll just a bit more. Then, cycle-wise, careful what's happening is that you're having contact here on that frame, but then as it plans, it's not going backwards. That's what adds to that extension and being too far forward with the lean back feel, and only now is it moving back. The same thing on your peel-off here. As you track, your spacing here suddenly starts to slow down and stop. The moment the foot, especially on the cycle, that you're moving from A to B, the moment you've set foot and you contact the ground until the end when you lift off and you get off the ground, your graphite or whatever curves you have, bam, contact, lift off. You don't want keys in here. It needs to be all one constant, even curve in the timing. Basically, if you move this from A to B, the amount of the roots moving forward and the speed is the same as the foot going back, and that's how you will avoid sliding. That's what I would have there. I would probably point those feet out a little bit. They're a bit straight default towards us. There might be a little bit here, but I'm going to push that a bit more and don't forget on your plant, the shin is aligned this way. I would align your foot as well to this and as you step down, you might have, depending how she's leaning in, I have a little bit of a touch point on this, meaning that your foot is slightly rolled on one side and then it flattens on contact. Generally though, I feel like the root is going up and down a bit too much. It's funny because I don't quite see it here, but it might just be, maybe it's your, oh no, it's your hip. I think you could reduce the up and down a little bit. Watch out the end of spacing on the feet for that. And you talked about the pops. There's still some moments where none of this is moving and only the lower part here, the shin there is moving. So you have to look out for sticky frames like that. That's a bit tricky. To me, these personally, I think the hand are a bit too wavy. It makes it a bit soft, but I appreciate that they turn and then fall into an arc so they don't go out and then go back in the same direction. To me, a bit more successful on the on the side view, just in terms of how far out you go here, but it's not the shock kill. There's just something about it feeling almost a bit too artificial. Like she's really trying to reach out with those hands. I'll probably tone that down a little bit. Just a tad. I feel like the y-rotation is also a bit much. It's not too crazy. Personally, I'm looking at this more like a vanilla walk, meaning it's more like a standard walk. So it could be a reduction in the y and fanning this out and a little bit in the hips, softening the feet a bit more. There's a looseness about this that's cool, but then a stiffness about that that's kind of clashing to me. There's a bit of a hiccup there. A hiccup with a sharp move forward on the head. And it feels like even it's kind of like a catwalk, model walk with the head staying focused straight. I would still watch how this looks like a world or headline, your IK head type of thing, but the reason why I'm reacting so much to so much chest control moving in y is that it doesn't impact the head at all. I would have a little bit of tilt roll with this way with a little bit of movement in y. Like she's trying to compensate and really trying to look forward. That's the main thing. That's why this stands out to me so much because there's so much rotation in here that does not affect this. So I would do a little bit more of this affecting this, but still reducing this section maybe a little bit there. And watch out, let me just see where you point. So you're pointing the feet this way, but you still have to take the pull vector of that knee and point it this way as well. Otherwise we're starting to get to where we can look visually with things pointing in other directions. That being said, when the hips go up and down that feels nice, it feels good because you're not doing it right away. It's kind of on the passing as the weight goes up that leg. That's when the hip is fully activated. So looking at the front view, that has a nice feel, has a good impact. Not too poppy. I think that's pretty cool. There's just something about this, it feels very translating and not enough of a rotation with a bit of a drag and also a bit of a heart hit as it goes forward. Bam, it just stops. It stays put, so it's softened out a bit. So to me this is a little a mismatch in terms of where things are soft where things are a bit harder, but the main thing to me is there's that section there. 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.