 Alright, you got a personal mission? I'm gonna play this here in full? I'll tell you boys, life is crazy. One day you're in community college driving a Camaro T-top, cock of the walk, and then you need some cash, so you get a job. You think it's only temporary, but then you get a promotion, and then a raise. And all these doors open up for you, except they're not really doors. They're trap doors, and then all of a sudden, bam! 20 years has zipped by, and you're thinking, is this all I have to my life? Not you kids, I love you kids, but come out of the house. It's crap! I'll tell you boys. Nice. There's a lot going on, I like it. A long shot, what are we here? 721 frames, 30 seconds. Now, hold on. If that... I mean, I guess you want to keep the kid a surprise. I wouldn't be somewhere here, but... I think this is all very cool. I'm a big fan of foreground elements going through. I think, given that this is so far away... I'll tell you boys, life is crazy. There might be something. This is a note that you don't have to do. This is me thinking out loud, and it's about the character and the personality and the flourish of it. Mainly because we are so far away. So these guys are just listening, right? Different poses that could be holding beverages or something. Then, the way it picks this up, watch out. It's really fast, so as you go to spline at one point, just watch out for the timing and how much time it's going to take. But my thought was, when he does this, what if he spins this around? I know, it seems like over animation, blah, blah, blah. But to me, it's like, is he... He's telling a story, and he wants to... It's very theatrical, also because you have the camera going around, he's embellishing, and he goes, BAM! It's not like he's subtle, he does big things here. That's why I'm wondering that he is kind of like... There's an audience for him, and he would have a flourish like this, where he would pick it up and twirl it around, loosen the grip a bit. Also because it's a bigger move, and we are pretty far away. I'll tell you boys, life is crazy. Because as the story is shot, I like it. The question is always, if you want to put this on a reel, there's not much going on. And I'm always concerned people just turning things off and scrubbing through. There's not much going on, and nothing to see here. As a shot, I like it. But I still wonder, what is this guy's personality? And based on all of this, is there something really interesting that he could do with this? Or he steps on it, or he's already picked it up, and he kind of leans on it? I don't know, and then he realizes it's hot. What could you do to push this to give this right away a clue to his personality, basically? I'll tell you boys. This is all cool. I like all of that. Careful, we are in a W pose, twins. I think we need all of this. You have to decide, do we want to see this all the time in frame? Or, you know, like you can go just with one gesture. I know it's, you know, he's making a point theatrical blah blah blah, but it's just very twins. And I know you can see this, and there's more of an arm, but as opposed, it's mirrored. And I think you could, again, do potentially more interesting things. I could do, like, stuff like that. You think it's only temporary, but then you get a promotion. See, that to me is more interesting, where it's just here, and then that. Like, he would point with this, where he goes, and then promotion. Maybe he twists this around, and then looks at it. I mean, like, you already have this in frame. It's something you can turn. It's long, it's an extension. Like, what else could you do? Start another bite, and then not bite into it, because he continues the story. Whatever you do, I would not do something like this. I would keep it somewhat turned, so it's more three-quarter. Do we have another frame? Not really. It's just, you don't want this to be, you know, that's already a bit better there. It just gets a bit small in terms of silhouette here. Again, watch out. I know he has a lot of gestures, a lot of W. But it's interesting, because we still see him, he doesn't get lost. But there could be, again, I would push those moments and not go for all the twin arm gestures. They're trap doors. This one, I would actually point this way, just because we're... It gets a bit muddy in terms of silhouettes. Imagine that arm out, forearm, and then, you know, forearm is here, and then you have that, or whatever, lower. But at least it would be cleaner, and you can have that down here, and he looks over there. Just because the silhouette is not clear with this, and then we're getting almost a tangent here. I mean, it's a moving camera, but we're so close to the head, and it's just not as clean as it could be. And then all of a sudden... And then again, we're back into W poses. Bam! So to me, it would be just adjusting a lot of those arm poses. I like everything else that he does. Like he looks around, big expression changes. I think you potentially play with maybe like a lean forward, maybe changing position a little bit. And I like that on... And then all of a sudden, bam! Bam! For dramatic effect, we are in a close-up. 20 years has zipped by, and you're thinking, is this all... And that's all about the head. Although I would reframe it, it gets a bit high here. I would think in terms of my horribly drawn thirds. I wish I was like an overlay I could immediately put in, so I would put those eyes around here. Is this all I have? You know, like that seems already better. So I think... Where is he? Just a bit high here. So imagine lower, which means that your lowest positions can be lowered. I think that's okay. My life! Or just adjust the camera. But I love the expressiveness of this rig, and I love that you're going into this here. Half to my life! The only thing I would say is that he's addressing everyone over there. And then it's kind of like the two ways. He's saying this and then realizing, oh wait, they're still here, or they're here. Or imagine... Do I have a moment here? Okay. So imagine he says all this, says all this. And then when it goes my life, he has this, right? Well, this expression. But looking this way. And because of that, he sees the characters. You know what I mean? I hope that makes sense. Like he would deliver the line, or maybe it's just because of your... To me, it's like he realizes it and then looks over, versus he is caught in his thoughts and expressions and blah, blah, blah. And by the time he's here and he's done with the line, he actually turned the head around enough to see, oh wait, my kid is here. Not your kid, I love your kid. And then that. It could also be really cute where your brother may be a smaller brother or daughter or vice versa, but one is leaning against and afraid, the other one is already comforting. So just as one pose, you go like, he just scared the little kid and the bigger kid has to look out for that and then come out of the house. It's crap. He continues that. And now we just cheat the tree over here, or take it out, cheat it, but not have it right behind him. It's a bit... It keeps us clean as you can. I mean, I know there are a couple trees here, but you can always put that tree over here, or I don't think it would put it here, but I don't know. I'll be careful with the lines that you have there. But that's kind of that. I really like it. It's a cool setup. I like where this is headed. My thing is always twins, gestures. You already have this as a prop. Use that, I would say, to kind of extend his personality. How could he use this? Again, I love stuff like this. Would he bring it down? Would he twist it around? Like, just smell it, the sausage, and then say something again. But kind of come up with different arm gestures than repeating twins W poses there. Watch out for your silhouette for here. That's kind of that. All right, 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, a like and subscribe would be awesome. All right, thank you.