 Alright, let's watch the whole thing here. There is sound. Okay, a couple of things here. I don't know. It's gonna go away from the audio just a bit. The first thing I will be careful about is having such a massive Dutch angle with your camera. This is usually for horror movies or super comfortable scenes and I think it just gets a bit too much. I don't think, to be honest, we need it. It's just rare that you want to put something like that in there. Just it's so for such specific reasons in terms of filmmaking and it's, you know, if this was like she comes in and some other arms grow out and she gets fangs and all kind of creature-y it's all kind of weird Sam Raimi style something. Then you could have that but the first thing I would do is just flatten out that horizon and then just have her come in and you can always pan left to right, you know, if she is, if he ends up being here and she needs more room or something to go left to right, you know, she goes in here, she goes right to left and turns. You can all accommodate that by panning and something. The other thing that happens is that when you hear, she gets really low. If you look at the thirds in my, whoa, sloppily drawn thirds here, she gets very, very low. Same thing here, especially around, yeah, that was the lowest part, but also she is very assertive. You know, she's, she is the dominant person here, but then visually, she's lowered in him. There's something that doesn't quite work for me with this. That's mostly through all of this. And then here, again, I mean, you know, you will have diagonal lines that make it dynamic, but I don't think it's needed here. Also, watch out. You got a tangent right there with him not moving. That's the other thing is, the other part of the animation feels very, one axis and a bit simple. I like that she is walking and turning. I think that's pretty cool. Why not? That's a good complexity. It gets a bit stiff in the head. There's an overall head, world space, IK feel to it. And then the other part is that when she lifts her arm, I don't see a massive change in here, shoulder and chest, where it feels like this, it's a bit of a separate move compared to the rest of the body. And that kind of goes into the rest of the shot as well, where this feels like this is straight. And then we just have the upper part of the head rotated over without the lower neck in there without anything in the spine, for a bit of a different line of action. I feel like both shoulders go up at the same time. There's some separation that's needed here. This feels like there's a bit of an offset compared to this, which is good. But then we end up being a bit too together. Even though silhouette wise, it's different. It's just a twinning aspect of it, of just both arms doing the same thing. This gets a bit too close where we cover the face a little bit, but it almost feels like she's scratching. This arm just kind of pops into frame over one frame and then sticks there, versus having an ease in or especially overshoot with that level of energy going up and down. They go down at the same time. It's a bit too post suppose at this point. This forward move feels a bit simple one axis, same thing with the head going up. And again, it feels like it's just basically this joint there and nothing else is part of that post change. And then as we go back here, the timing feels a bit even from here to that. So when you grab it, it feels like a fairly straight linear line. And then we go back forward. I do like that she starts with the shoulders and it has that, but then it's unfortunately back into very simplified one axis move and also just the head joint there. And again, spacing wise, it feels very harsh if you look at if you check that spacing here, bam, then we hit just that wall here. Same thing with the body, just everything is very linear. And again, we go back in one axis, both arms here moving at the same time. And then spacing wise, it's all where this pops into frame, but then sticks over one frame and then pops back onto that. And then again, we go into just a very separate upper neck here or just the head joint there. Rotation with her also not really, there are no idards. Like it doesn't feel like she's really focusing at that point. She gets there's a dart here, but then after that, she feels like it's like a robot that malfunctions where it's just that stare. Now you might argue that's part of the line here. So will you please just let me have this one thing? Yes, you might say, well, then that's when she's like just freaking out manic, maybe, maybe, maybe by that, it just, but it just adds to that whole bit of a simplified body mechanics feel to it. Same thing with him. I know she's holding him, but then everything is really just located in here. And especially there again, I know she's holding him, but it gets very one axis, just up and down, up and down. And then this movement and the jaw is the same thing here. If you look at her mouth here, I think we go too quickly from shape to shape. You pop from this to this and then it locks. Like there's no, there's no arc in it. There's no ease in and out. The jaw just pops down. It's a little bit of an ease in here, but then it pops back down. It's just very chattery. I think there are too many keys. It needs to be a bit simplified, but at the same time, sometimes it feels almost a bit broken here in the envelopeing, but you have this big jaw move where it doesn't really affect the head and especially here on him. It just basically just stuff is moving without anything else in there. You have to think in terms of just if it's like a big accent and you move that jaw down, is it going to also pull the head down a bit and also in all axes just to give it more complexity and natural feel to it versus just this computer move. And then do we need to have all of those jaw movements up and down? It just gets a bit too skeleton jaw chattery. That's my main thing. Even through here, you can see that he seems to have head, IK head space, you know, being in world space there where you go back and you have all those rotations in the chest, which I like. It's good that there's movement in there. It doesn't just glide back, but it makes this very separate where this is something and this is something else. And that's mainly that. That's to me like the main, the main impression watching this where it gets, it gets very simplified, very robotic with him. The composition at first, but then just all the moves that feel spacing wise, a bit poppy. And then the moves sound to get a bit very linear and even and everything is very splined in one axis simplified. Now, if I go back and listen to the audio here, like even this, if you listen to her, I just spent all the mending socks, I just spent all the mending socks. Like there's a rhythm to it. That when you look at her and you turn the sound off, it's basically forward and slide back where it doesn't follow the rhythm and energy and the peaks and valleys of the audio. All day, just all day, just socks. So will you please just let me have this one thing? Yes. Yeah, I think we need to play a bit more with movement left to right in the body, some more complexities and just the overall line of action where we can have a bit more movement, not saying that she has to tilt forward and tilt back and all that stuff, but just getting out of that one axis feel. All day, just socks. So will you please just let me have this one thing? Yes, I will. Okay, don't hurt me. Great. I don't mind that she is in his space and grabbing him please just let me have this one while saying please. It's interesting contrast of she's saying something in a polite way about the actions of difference. I think that that idea I will keep. I like that one thing. Yes, I will. Okay, don't hurt. And this when he goes, yes, I will. Okay, don't hurt me. I mean, this could be something where he is so taken aback by by her aggressiveness where you know, the shoulders could be up, he could be really tense. And maybe so we don't just have that sliver here. It could be more towards us. One eye closed, one eye barely open like he's waiting for a slap in the face. Something where you can push that pose and his feelings a bit more just that that what is he what is he thinking at this point besides just you know, head knots up and down with the audio. I think you can play and push that pose a bit more as well. And even here, she could move away against he could still have the shoulders up. Even if she's holding that and she lets go, he would move a bit because that tight grip would let go. So there would be some movement on him, but he could still have some tightness in there. So the shoulders are up. And even he at the end, she feels so robotic. Again, it's just that upper part here moving nothing else, which gives it that that rough blocky feel. And then that turn where the head is almost locked, but then she does that tilt with those eyes. It doesn't quite feel like she's looking at him. It's like the height is there, but it feels like she's looking past. So he's right. Yeah, that's kind of that. So it's a little technical things to just to get it out of that more simplified mechanic stage. All right, thanks. 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.