 All right, there's sound here. Let's watch the whole thing. You have no idea what it's like to be a card. I see these horrors and... I do nothing. You have no idea what it's like. Okay, okay. So, watching this, a couple things. First thing is, I grab your scene and I'm not sure why the texture's not showing up, but I was wondering if this would be a better position of the character and this could be something where later on you darken the character and make it a bit blurry for depth of field. So, it's just there for context and balance of the shot. So, we have something here with this being the main focus. As opposed to... Let me get out of this here. This where... It's over a bit. Like this, you know, there's a slight tangent there where it's kind of like... It's a bit too low. We're gonna look at the face because we see the eyes and it kind of takes away from what that character is doing. Let me take off the scrubbing here. Because then you also have to end up animating that character and I think... I think it's either... I'm not even talking about the before. Either we're gonna have that like the Maya scene where it's just there for balance and context or we're not gonna have it at all and you might just have it more like this and it could still be something where the character is smaller in frame and it's just implied that they're talking to someone that's off-screen. I'm just trying to get... You know, you work focused on this character and not adding more work with this. But it's your shot. You'll let me know. I don't know if you think that's better. You know, then you have... I play this... I adjusted the eyes a little bit so he has a bit of a look and then you can play with is he gonna look at the character or not? Is he gonna be feeling a bit guilty? Will there be eye contact or not? And that's kind of... That's kind of that. Kind of move the bench around a little bit and then put the tree somewhere else. So it wasn't... So it wasn't... You know, like kind of overlapping, be uncomfortable or having like tangents with lines or something. So I kind of put that in here as if like a visual wedge between the two, whatever. Whatever, however you want to interpret that. So that was kind of the idea for this. Now looking at this, there are two things and I can turn off the sound for that. One is... And now you mentioned that this has a translate down instead of a rotate of the jaw. It's an interesting setup and it's just something where like on stuff like this, it just feels really strong. It's interesting. I should go back in there and actually look at that rig. I don't know if there is another option to change this into a rotation. It just feels so... Like I am legend. The mummy, you know, when creatures have this exaggerated and then they just translate the jaw down in VFX. Sure, I'm being guilty of that too, but that's kind of the odd feeling. And there are reasons why I mentioned this because it's just to me, it draws such attention to itself with something that they're going down for a shot that's more emotional and more subtle. The other thing is there are a lot of changes where you suddenly have some wavy lines in there and then it gets kind of to almost like a whistle with the corners in. Same thing again there. It's okay through there, but then we suddenly have again, it feels like there's just too many controllers that are activated there and we're getting some weird intersections. It just feels very... It's just very busy. It feels like they all have their own little minds there moving around where I would really keep it simple. And I think it might help you to dial it back a bit where you just concentrate on the ups and downs on the jaw for the opening and again, I can look at it as well. If there's something where it can be more rotational, but it maybe just have to just generally have less and just focus on this and just keep this really subtle and just reduce the amount of translate down of this and then just concentrate on your corners to go in and out for extremes and then for anything rolling lips in for M, F and all that stuff depending on the lines there and then kind of take these out. I'm just curious if we should dial it back in the start. I hate to just start from scratch but to simplify this a bit more because right now it just feels too busy and it feels like there's too much stuff going on where it's like the breathing is too too wistly on something like that. Like I see stuff moving here. So my bigger note will be to simplify things. Like stuff like that just feels overly busy. Bring the sound back. Look at these horrors. Like this really feels like you're like I think I said that before like just treat this as if the mic is really close by someone's holding this and it's really, really sensitive and it just picks up on the breathing and that's just how it goes and not going to full on like full on animating it. Like I know it's strong in the audio but I think dialing it back let's keep this subtle less is more and then we can always in animation layers bring back certain shapes or certain moments to push it a bit more if needed. You have no idea what it's like to be a card because right now all I'm seeing here just it's just again like a lot of you have no idea what movement here and there's a lot of business in the shapes. You have no idea what it's like to be a card and also wanting to be asymmetrical which I like but then it really feels like this is so rotated and pulled over where it's almost like a bit disconnected from there. I see a little bit of a curvature You have no idea what it's like to be a card but it's almost like someone's chest is looking this way and hips are looking this way where it feels slightly not quite connected there but I think it will help to just reduce the jaw and simplify the shape a bit what it's like to be a card and then watch out just little things which are that we don't have too much movement in one eye I will keep that eye box fairly far away so it's there a bit less cross-eyed because when he goes up here and see this horrors horrors for me is again it should be something in here and I'm just looking here yeah I think that might be like it would be interesting to it's also feels stretched it just seems so big what if it's only like this far like really keep it super small see how far we can get away with and then potentially keeping the head a bit more in this rotation not in terms of up and down but towards us so my concern too is that when you're here on moments like this we don't see the iris it's kind of lost well either we're going to get away I think I mentioned before where we just cover the eye or we move around so we can see both where it's a bit more like this and then you also have a lot of like separate movements in here you can see this here where suddenly only this side goes down separately then it goes up in here and then we have an overall shape changes everything feels very busy and it's an interesting update since last the last one that I saw by the way your reference is great like stay with the reference I love how you incorporated all the elements after showing me different reference takes into one so that version is definitely the way to go but what I'm noticing in this take is that this got really busy this got really busy and I mentioned two things so this to me is one like the facial aspect of it is really busy and the second part is the head is really busy like there like it's this would really just be like a small to nothing again maybe it's like a different approach that we have where I feel like this is much more subtle and contained and and we just want to read it all in here but now suddenly we have it's like a bobblehead that moves way too much but it's also subjective as always these notes are just you know take whatever you need from it but that's my my general impression the busyness in all of this and busyness you might say in the head as well instead of making it less is more because I think in this case I think my approach for this would be to simplify simplify simplify and keep it really subtle very small and then either how well your workflow is adjust the animation and putting animation layers to have more accents where you might want to do a little you know like your rotation in there and then maybe at the end have a little bit of head shake maybe but just start adding more like it's almost like the reverse of what I usually do usually I go big just like this go big on everything like all right this is too big and start chipping away like the things that I don't like oh let's keep this smaller but keep this because to me it's easier when you start with something to go too big and then adjust where you at versus start somewhere and then just go always a little bit more like this will take forever like this is for me not a good workflow but I think this is for bigger shots you know if you do an action shot or bigger broader acting shot that's how I approach things I start with something like I don't know or you get notes from a client and then you just you just incorporate those notes like 110% like go really big like okay I see where it's too big let's go down here let's go down here and keep the rest and you have kind of a middle line versus this is your shop you get the notes from the client and then well it's incorporate the notes like you barely did anything you can't really see the difference the client's not going to notice the difference and that's why I don't think I really don't recommend like you know like small increments that go big and make a change and then see where it's too big but in this case I feel like this is your animation and now we suddenly here and we got to bring his way down and I wonder if this is the better approach of do your animation really subtle and then it's not like an overall like a little bit more but you do your animation then pick moments like you're going to go a bit more maybe a bit more here maybe a bit more there just to to not lose the subtlety of it and give it a little bit of a kick every now and then I don't know if that makes sense so I'm going to leave it at that instead of confusing you even more let me know email me what you like what do you what do this real with and how we can move forward all right thanks all right there's an email you can sign up you can start whenever you want you can submit whether beyond you get 16 submissions either way like and subscribe would be awesome all right thank you