 Okay, let's check this out. We got this clip from 7 when bring down the volume So I was looking at this and so I had a couple ideas in terms of The settings that you could put this in because again, this is your shot You can do whatever you want to with it. It's just my my initial reaction was it's one of those classic I mean, it's above waist, but it's kind of classic chest view of a character in an empty scene talking with A lot of hand gestures There's a lot of movement still with the head down and the head up that to me doesn't quite fit the audio if you listen to how solemn the whole thing is So sad And you do hear the clinking and stuff from from the restaurant from the source in the movie I get that but I would still Put that somewhere else. I mean he could be in a hotel lobby or something or just outside a restaurant or something, but It just feels a bit It's just too classic over a character like that in the empty scene Which of course I say this and there are plenty of great examples outside outside online Where someone does really really great acting pieces to stage exactly like that So it's not like it's it's imperative, but the thing is it just seems just too It's just something we've seen a lot. Let's put it this way And even if it was really well animated, I mean, I guess you know anything's okay when it's really well animated But I think there's still a couple animation problems where it's being on the volume So overall it feels very chewy. There's so much movement in the jaw and in the mouth shapes Then that it's just there's always a hand gesture with everything when people do acting pieces like that stage like that And I know this seems just again like just too much of a classic move where it's just kind of an arm throw I can arm You know throw away gesture That's just it just not as original as it could be and you do it twice too. I mean it's different hand pose, but So there's no to me. There's no contrast in that the intensity the energy is the same You got this and you got that like which one is more important and this seems I don't know and then given how the voice is It's just very quiet Which that's delivery and it's good delivery, but then this Just seems so exaggerated seems all just to me overanimated. It's overacted Where that on the other hand, you know, imagine he says everything like this where he's just You know, you could have someone over the shoulder looking here and that would be your framing This would be blurred out and he's just kind of He's just he's embarrassed about what he's saying If there's so much torment and it's all just kind of stage like that where he's barely able to look at that person and then at the end Even then I would that make that not as fast not as dramatic there in terms of the speed But then he can come up, you know, and that's the moment where he you know, he inhales and goes all right I'm gonna say this and I'm so embarrassed that again. I can't hold eye contact I would just not go as low with the pupils so we don't lose them and you have some clipping plane problems And we have to watch out in your camera. So it doesn't get that shimmering here It's just too much with the eyes and careful You know, if if that person again is around here, and that's pretend that's the framing here You know, I think that would be good eye line wise But then when you go down and over now, we're looking a bit more this way Which if you're saying that well, he doesn't quite want to look into his eyes And I would just stage it and look over here pupil wise. This seems like The almost the same as this but just too off where it seems kind of like a mistake. So I Like the idea of him looking but then he can't hold eye contact and then this would be Just don't go as low and you can come back up here But it would be screen right that he still can't look at that person, but he's trying to And then that as the end like I think that to me is the most successful part except that it's so big here But the subtleties of that I think body wise to me is that's much more appealing I would highly recommend that that's to anybody who does You know lip-sync animation performance pieces like that to shoot reference act things out and put their hands behind their back Or just put them down and like what would you do body wise and head wise if you didn't have your arms Just because that's just too overuse. It's just a classic Kind of zero meaning gesture if that makes sense But other than that animation wise It still feels like the shape was down here and you got moments where it's really drooping over here And then you got that as shape here, and then it kind of changes again It's just very very swimmy and spliny. I would look at well, okay If I'm putting in a symmetry is the character overall Kind of like this is there always kind of a change where this side is mostly different than this and I will keep that a bit More consistent. It's like if you have your your model sheets And I'm just randomly googling animation model sheet face And this is the one that came up But you know imagine that your character when you're animating it is where it's something like this where you go Okay, these are the expressions and I'm gonna stay on model and it's not gonna change and by not changing I mean they're not gonna be like so many different expressions where it feels like they're random It doesn't feel like they're in character if that makes sense and they also have you know Like this side of the eyebrow really dramatically going down without really affecting this It just feels like controllers are randomly moving instead of being part of a solid expression and going into another solid expression My thing will be for this A besides kind of thinking about the setting how to potentially make that a bit more interesting a bit more original What is the character? What are the character expressions? Like what's his what's his character? And then go from very specific expressions Where it's always like you want to simplify your acting beats It's almost like you have too many keys and you want to just get rid of a lot of them Like you want to bake out the whole animation on you know every five frames or something Or look or go into step mode again and just look at what are my key expressions And then how can I transition from them in a in a more clean fashion more organized ends? Um just less busy fashion if that makes sense And in terms of setting I wrote your email here. Let me just Scroll through that, you know, what if he what if it's this guy, right? Let me switch to the other drawing here But what if it's that person talking To that person you wouldn't have to animate much just kind of I mean even with the You know with the glasses you wouldn't see pupils that person's just there to talk And imagine They're both looking this way and this is your main character and he's also looking this way and at the very end when he goes um You know, I thought about what's the line here. I told her I didn't want to have it That's when he looks to this guy and this guy still doesn't really react Because he might just be too shocked or just kind of listening, but this could be This could be your your The frame of when he tells the other person that's the only change he has he looks over um Or I had you know, what if he's alone and he's on the phone with someone You know something like that where at least you know, he could take some moments where he's on the phone And then it could be something where Um, you know, I didn't I didn't want to have it is it's almost like he's he stops Talking to the person on the phone and he takes he has the phone here and goes And then maybe he takes the phone down and just says it out into the room because Now he's just back into into that memory and he's just so devastated by that So they could be something with the prop and how he used the prop where the prop is positioned To make it potentially a bit more interesting. I don't know. I saw this online and it's kind of funny All guys with the beard. It's awesome. But you know, they could be something where they're on stairs talking or They could be one guy like this on the phone talking and you know, the music will be coming out from From back there and it's could be a restaurant or something. I mean, it's for the audience to imagine Or if you just keep it simple, I wrote that in the email. I'll send it to you Um, if you if you just want him to talk, you know, something like that where to me it's interesting how much of this character is overtaking the frame and How there's not that much room and it makes it more uncomfortable for that person to talk about this on top of the Uncomfortable subject matter. There's something about the framing that could be interesting or just keep it classic more like this You know, there's a couple ways To do it like that So I would say let me know what you want to do. But these are just kind of minor impressions Um, again, this is it's your shot. You can do whatever you want. You're writing the email that it cuts to another person It's a woman looking at him. Um, I personally wouldn't do that just because that's exactly in the movie You got morgan freeman talking and gwyneth paltrow looking at him With different reactions depending on what he's saying and to me that's just too close to to the original And and that's why I'm suggesting what if he's in a different setting. He's alone on the phone or talking to another on other old person um So the different ways I think where you can take the original and make it something different And it's it's by putting into a different set or adding another character. Just so it's just a bit more original But again, that's all the up to you. These are just my suggestions. Uh, let me know what you think. 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 the like and subscribe would be awesome. All right. Thank you