 All right, so you're saying this is shot one and two and it's a sound at the last level of frames All right, I'm still thinking about the last part of shot two This is shot one shot two last part. Okay I'm about timing and acting after that should I just cut to the shot five which the girl answering the phone or Added a transition shot to show the position of the phone. I think since this is the beginning of the sequence I Think it's okay to show I'm you can totally cut to a shot where See the table and the phone and the phone is moving And it's kind of her POV you can also have her shoulder in their heads to kind of show okay I'm looking this way But I don't think like I said before that you need to show a walk over there you can show just the phone ringing and Either have her in frame or not over the shoulder and then cut to shot five answering the phone if you look If it cuts right away to her on The phone I would save that for later where you want to accelerate the pace of the storytelling But you don't have to show anymore where the phone is so I would I would wait for that for a later shot so for this That's super cute Get a couple eye darts here. It was like she just comes in by her eyes are totally dead So she can come in into this Then they can you know it looks like she's looking around here Then you can dart them so she looks around here. There are two of them She can kind of go back and forth now, you know a bigger dart to show this and maybe you know the dart to show here That's cute. This is a bit weird Whoop this one and now it looks like she's looking at me. So keep her eyes down and Then you know for stuff like this It's a bit blocky like how you have eyebrows And you're done here over a couple more frames the eyebrows could continue kind of ease in a little bit or a bit too linear Her mouth may be not doing enough here You know there's a moment when she turns around here where it could change the mouth shape change the mouth a bit more Maybe the corners you can have the chest move a bit more through this. It's a bit simple in just the head moving Same thing here when you go forward here, it feels like a forward translate But if you take a step you're gonna Dip and come back up you're gonna have to have an arc it could be a sideways arc if she's leaning on one leg And I think about that how the mechanics work She is getting up here Same thing here. She feels very dead like if you do this There's no change here. No change here. No change here. It's kind of like a dead puppet So at this point she could open her eyes and maybe a bit more if he makes a happier lower eyes She can kind of get in there not sad, but kind of bring up your eyebrows, but she's trying to reach it She could close the rock going Ready like you know like think about how you would act this out and what you would do Then that's cool through here watch out you are intersecting that hand That's cool. That's cute. That's all very cute. It's a great little walk. Love all this. This is really good See those types of mechanics you're back and forth your left and right pushing your your hips and All that that's cute. This is just a bit early I would probably keep this one or two frames more this leg and then comes over to really get that push-off right now It's almost like a slide So keep this on the ground for let's say two more frames But your mechanics of how you're going left and right here and all that stuff. That's what you want to apply here Right, so when she goes right through here, it doesn't feel so simple Awesome awesome awesome. Carefully do something like this That's a big move where the whole thing is moving so you can do this, but I would move The chest a bit over and the head is definitely still here the head drags. It's such a big piece Boom and then at the end. She doesn't have to be all straight again You know what I mean? She can be with the head slightly tilted at the end and then straightens up into this And again, I think these hops are too big How how low this goes and how quickly you go up here and if you look at your spacing If I bring this up here All right, so she goes here here Here and look and see it's the same height So spacing lies boom You suddenly stop as opposed to continuing to go up a bit and come back down, but then you're way too high So that's why I'm saying that you should probably just not go as high So on this here your arms would be lower like this would drag then you come up to maybe half the height and Slow, maybe around here. That's when it drops if I watch this right now It feels like the play goes up and down so quickly your your doughnuts, whatever she has here They would just fly around That's crazy Even this is a bit fast like From here to here. She's almost break her plate So you want to think about well, how gently is she gonna push put this down? Maybe a little bit of a slide or a rotation in there And she still feels like a little robot face And she's reacting too quickly Like you would have to put the sound around here. Let's do some scrubbing here. Let's see See that You have your head move right a frame before the sound starts, so she's anticipating that phone call So your phone call should be happening here frame 185 And then she goes. Oh, what was that? 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 like and subscribe would be awesome. All right. Thank you