 Okay, let's take a look at this. It's cool, watch out for something in the door. This just here, when it closes the door right here, this fills pretty fast for a heavy door like this. Just watch the door timing. Opens up, it's cool, I buy all this. Whoa, that suddenly that was a sudden, some things are eased into that a bit more and it's gonna help the visual thing too where the foot and the door and the lower part are kind of moving in sync almost. So that's gonna help. On a move like this back, you can probably start adjusting the wrist orientation and maybe the height of that arm so it doesn't pull so locked to the chest through here. On something like this, what will help to make it less floaty as he steps over here, boom, and takes that, see the height of the roof is kind of the same. You can have a little bit of impact on the hips through there as it takes all the weight and then bring up the roof a bit for the lifting and then you can go back down through here on that step. A lot of the floatiness comes from just the very static translation of the route. For this, it's also a bit flat. The roof will be lower here and then especially as it extends through here, the roof will be at its lowest point and then as you take the step over, the roof is gonna go up a bit because now it's pivoting off of this leg, right? So this leg here, because it's leaning this way, is lower, this point is lower. And as you go up and it's straight, the roof will be higher. So having those little up and downs and the hips is gonna help. Watch out in the head that there's just a little bit more of a hint of an arc, it could be an under arc, an upper arc, probably an under arc, but just right now those y-rotations are a bit flat, making this a bit too simple and I'll say stiff, but just feels weirdly disconnected from the rest of the body. It's not as organic, even though they hate that word, but there's something where you want and choose a few more arcs. Again, they don't have to be huge in cartoony. They'll kind of kill that moment, but just a bit more. And you can probably, as he settles over there, it kind of, the head kind of stops. Most movement stops when it hits that point, so you can have a little bit of continuous head movement. So it's a bit of a delayed settle on the head, so it doesn't feel so pose to pose and clean. Everything just kind of stops. And I will probably ease into this a bit more overshoot and come back a tiny bit. If you watch this, it feels like everything kind of accelerates almost. Just all sort of this hand going up here. And then it kind of locks very quickly, so you want to soften that a bit more. And what you can do here on those steps, again, you can push the up and down a bit more so that he's, and doesn't be much, plus there's a bit more contrast of up and down, and then towards the end here, you leave it the way you have it. And in that way, you get this feel of just contrast and movement where it's up and down and then less. Otherwise, it's always kind of the same thing, which gives it, again, that floatiness. There's probably some texture you could add to this arm. So right now, they're a bit twinned. You can see that negative space between the hand and the forearm here. They kind of go down kind of at the same rate, speed and distance. So this feels really connected, so you can maybe keep that arm up a bit higher. Watch out, it seems to be a little bit pop through there on this hand reaching that bench. And then through here, then you can start lowering this hand so it doesn't feel so stiff and locked. And then you can bring it back up into this. So there's just some texture in the pad. Otherwise, your arm just feels kind of just looking this. And then now you get higher drop of it, come up a bit. So there's a bit more movement and texture to it. Do also, as the head goes down and looks down, a bit of a cheat and he is hunched over. Not really, you can't really tell. So maybe you can have him, it's always not too bad here. I was gonna say, slightly straighter here, but you are doing it, then you're hunching it over. It's just probably where I'm reacting to. So it's a very separate head move. There's a lot of head movements, but then you can just add a bit more and Y in the chest. So that when you come back here, and it looks up, you can come back a tiny bit, a bit straighter. And I know it has to kind of go this way because this arm is going down. So I understand that. So I'm trying to find ways where you can just bring that up a bit more. You are going in Y because he was back there now. So then what I was probably just do is just you can add a little bit of irritation that follows the head and a bit more or straighten through here. Just kind of how much you can go for it. I think the roots and arm movement is gonna help the floatiness. Just visually, it doesn't feel so straight going forward. You might not be able to do much with chest. So I would try that at the very end. It's just what's pumping me here is this moment. I see so much movement in the head. And I don't feel like it's really impacting this section and this area here. It just feels really just this part of the head is moving by itself. Anything you can do to make this section through here a bit more connected to that head move. That makes sense. I think this as an idea, I think it works. Some good moments there. Yeah, I like all of that. It's just working into the specifics and details of complexities of movements. It's not just one axis, how things move, stop and go, stop and go, arcs and texture and time again. So it doesn't feel so even going up here. Basically doing the magic that you did for the first couple shots. So there's two. But yeah, I think as a whole though, in terms of timing, what he's doing, the moments, the stops, the darts, the reflections, all that, I think that's all cool. I would totally continue with that and refine that last shot. All right, thank you. 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.