 All right, let's play this in full. There you go. Let's play this one more time. It's a shorter clip. All righty. You are mentioning here that you have established your timing and your poses. This is still in linear except the root. Just kind of feel things out. I had this really cool stuff in there. I think currently right now the only thing that strikes me because this is potentially... So there's just the early spliny nature of it. I think everything is cool. I think once you get in there, even though I do see an offset here... Isn't that bad? It's just it struck me with those hands coming up together like claws here. And I know I see that it's offset and I see the offset especially through here. There's just something about these where maybe as you come up, just one is just rotated over just a bit more and with maybe more relaxed thumb not to have those Lego figurine, Lego figs claw hands. Just that the only thing that struck me there. But I like that you have how knee go out and then the legs go out first and reposition and then to get up. Just watch out as you get into this. Even though you said spline, this seems like a linear key on that root here. To me what I would work on is because you got some cool details. It goes back, it's ready, that but then this seems into this. I wonder if you can push this a bit more. Is this something where potentially as you ease out of this, is the butt going up first with the more of a lean over with the head or is now the body going forward with a bit of a straightening of the back and the head is around here to then straighten up to get up here. So it's kind of like that or is it something where even though there's this and they're both kind of the same, are you going to potentially push off with this more as this seems maybe further back than this and have a more overall lean this way. That then ends up in something like this. You know what I mean? Well, you could have a lean that's a potential bit further and then step back into this. I think we could have a bit more information in terms of how the character gets up from here to here instead of just literally coming out and this seems a bit too simple. Just a bit. But I'm also very picky here. But other than that, I think there's some really cool stuff there. It just probably also slowing potentially that down a bit more. Now it has to be an old person getting up into this. But it is and it is pretty pretty. Not too fast, but I feel like it's probably also a linear key that does this. But it's a little bit of more information again. Splining this and easing out of this and giving us a bit more information of how, you know, lean forward or lean up or a side lean, just a bit more complexity there could be cool on this. But when I watched this for the first time, the things that struck me were that coming out quickly. But then I thought, that's not too bad. Why not? But then the second thing was maybe it's because of the speed here. The contrast of once you get to here, it gets very spliny with swingy arms. And you got both arms kind of swinging back at the same time. Everything gets kind of soft. If you look at his head too, the chin goes down there. You want to be careful with those spliny, flowy moves on a head. To me, it seems like a person who's busy. Oh, tired, drunk, they're drunk. But it's just not quite there where this seems to have a lot of purpose. So well, it's Tuesday. Let's get up. Oh, I'm so dizzy. Maybe I should have gotten up a bit slower. Like these are kind of the things that I'm seeing here. So for me, I would probably, I would keep this. I like this a lot here. But then she just tightened this up a bit more with the more direct and more distinct side step into a settle. And then that's it. Now, now this is just an exercise, but we can still kind of look at general timing and pushing things to be a bit less contrasty. Where I'm not sure where this, I don't know if it's intentional. If you want this to be so determined and then being a bit dizzy, loose, you know, unless you want to push this now even further, where it is a bit of who I'm dizzy and then you bring up arms and there's some more acting going on. Like, oh, my head is all spinning. But I think you want to keep this just in the exercise world. So me personally, I would tighten this end up a bit more. You do have a question here about working with arcs and tools and things. I'm going to reply to this in email form here. So let's continue this in email form. And that's it from me for this. Thanks. All right. Thank you.