 All right, new version here. There's sound. I'll tell you boys, life is crazy. One day you're in community college, driving a Camaro Teetop, Coca-Cola 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, life is crazy. There is a lot to go through. I'll tell you boys. And you are mentioning here, hold on. It's mostly the lower part of the face and body mechanics. So I think I'm going to go through... It's overall great. I really like it. Sometimes I'm a bit worried about stuff like this where you have... It's more simplified textures, and then you have fairly complex textures, or more complex. And then you have photo reel, photos, photos are photo reel. In the background, it's an odd mix. I will probably do something where you put that type of geometry back there a couple of times and do a hardware fog and kind of haze it out. Like you start off and it's a cool look for sure. It's just... Maybe it's just me. Sometimes there's such a disconnect between a photograph and then CG objects since you're already taking care of the look. But it's nicely placed. I do definitely like it. And I've seen... I was going to say I've seen worse. It's not that bad. Sometimes it's really, really distracting. And I don't feel like it is that distracting here. But just as an FYI, you're paying me this workshop so I'm going to tell you everything that I'm thinking here. Sometimes it's a bit odd to see just that mixture of super sharp and texture stuff and then you have kind of a photo in the back. I don't know. It's cool stuff though. I'll do like it. Anyway, I'll shut up about that one. Still like the beginning? I like that intro. But let me go... They're little things animation wise. It's not too crazy. For me, it's more the combination of the energy of the sounds with the energy of your body mechanics. I think I mentioned that before, but there's some areas that still stand out a little bit. So let's go one by one. I'll tell you boys, life is crazy. So that's okay in terms of sound. Don't mind. What caught my eye is that you're fanning out that arm and you have that exposed hand gesture in terms of... You can clearly see the fingers. And then you do it again. It's a bit of a... It's a bit double and maybe just the way it's modeled and from that angle, but it seems like at that point they remind me of... This is an alien creature. It's like in strange worlds or just an alien thing where you have the fingers and then it's bulbous at the end. How they kind of stick out there might just be me, but I will probably stick with something like that hand towards us like this. I'll tell you boys, life is crazy. And then you can do a life is crazy like that and maybe just not spread out and fanned out. So maybe just the bits. Let me see if you go back a little frames. I don't know. It's pretty big. It's almost like you want to stick with that kind of pose on this. That just seems over-exaggerated. The thumb is really high up there. That's the only thing that bugged me there. I'll tell you... Tool of this. I'll tell you boys, life is crazy. Now, for me, I will keep it like this. Keep that hand and then go maybe this far, this far, max. And not have this and also not have that. Just throwing it out there. Your shot, do what you want to do. I'm usually in the lesses more when it comes to arm gestures, fanning out, opening up hands and stuff like that because you do have something here already. Life is crazy. And I don't think it's needed. And again, like this opening up so sharply and then having the fingers out like I look here and I stop looking here. And that's the main reason why I'm saying have this as a nice line here. It's a nice pose, the simplified triangle, finger pose and everything. But that way the focus is always here. I'll tell you boys, life is crazy. You know, I don't know. That's just me. Rest cool. Life is crazy. I love all this. I love the silver of this, the bite and then how the that is great. I love all this. One day you're in... Thank you back. I don't think I've ever animated with that's the Apollo rate, but I remember reviewing it a while back. It's just so appealing. I love the face. Anyway, that's all cool. I think your sausage is a bit soft. That's an odd thing to say. Never mind. I'm just saying this wobbly thing. One day. Just because I came back from Switzerland like two weeks ago or something like that. And we ate a lot of sausages. That was just, you know, potato sausage. That's the country for that. And stuck in here on the grill. They're going to be pretty hard. I know this is the oddest, most inappropriate review ever. But I would just not have that wobble so much. Keep it a bit firmer and stiffer. There you go. I said it. I said it. It's horrible. Here's the first one. Okay. I'm continuing with the inappropriate. Cock. I can't even say it out loud without laughing. I'm so immature, but I'm going to stick with it. So you're in community college driving to Camaro T Top. Cock-a-la-walk. That. Cock-a-la-walk. There's such an accent there. T Top Cock-a-la-walk. That I would have a little bit of maybe a slight shoulder raise, but a little bit of shoulder chest up, but definitely a head up accent. Or you can do like a side twist or something, an accent on that word. Driving to Camaro T Top. Cock-a-la-walk. That's cool. I like all that. Careful again with the hands. College driving to Camaro T Top. You have this here. Cock-a-la-walk. And then you do it again. You need some cash so you get a job. And then you have it again. So I'm just worried about the repetitiveness already. So to me, this I like because it's such a strong silhouette that I would have... You can keep this one. I would still have it below and not have it at all. Cock-a-la-walk. And then this one would be like no higher than this. He's just acting things out and that's how we're framing this. It doesn't go that high. And then you need... Because again, I love looking at this. And then... And suddenly I'm looking down because this hand comes up. And you need some cash so you get a job. I would keep that one. You think it's only temporary. Don't mind this one. That's okay. Watch out at the very end. That's a linear pop there as that hand goes down. You can easily go down once it's covered. So I would just keep that up here. Watch out spacing-wise. We're having a rotation this way. Bam. And then we're locked here. You can see these are a couple of frames. We kind of locked two frames. In 2D space, sometimes it's all when you animate something to camera. It gets kind of locked. Watch out for that. Right. But then you get a promotion. That's okay. You think it's only temporary. But then you think it's only temporary. The temporary is a bit mushy in terms of the lip sync. Let's go back here. Crazy. Crazy. I might just be a player too. Life is crazy. Crazy. I know sometimes it's like two frames off. But I think it's the player. One day you're... Maybe the clip is long. Community college driving to Camaro T. Top cock-a-la-walk. Top cock-a-la-walk. Even the cock... I would open the jaw just a bit more over the head accent. Cock-a-la-walk. And then you could almost have less... That's almost like a burp. Like I would probably use this by 20%. By reducing, I mean, just the amount of opening. So it could be somewhere here between these two and not as wide corner-wise. And then you need some cash. So you could... I love the lips. Need some cash. Cash. Need some cash. Bit sharp, I think. On the eyebrow raise. Need some cash. So... It's not crazy, but... Need some cash. I'll put that at the bottom of the list. So you get a job. You think it's only temporary. But then... Yeah, so a temporary. A temporary. But then... You get a promotion. That's okay, like I said. You get a promotion. It's not too fast just yet. We are borderline pose to pose and notice moves down first. But then it's fairly in sync. You know what I mean? Like you can draw a line here, here, here. And then it finally breaks free. So just through there, it's a bit linked. The sausage link is linked to the face. Motion. And then a raise. And all... A bit fast. A bit fast. I would slow down that from here to here. Just by two frames. Literally just two frames. And then a raise. Only because... And then a raise. It's so... And then a raise. But in the voice, it's just... And then a raise. It's more... It's not that it's a whisper. But I'm not hearing... And then a raise. That amount of exertion. It's not huge. That's what I'm saying. Just two frames might just soften it just a little bit. And then a raise. And all these... And all these doors open up. And then a raise. And all these... This is a bit fast. I would probably tweak this. Slow this down. So when that goes up, this goes down. And the sudden fanning out. Adds two, three frames to that. More so than this note. So when I watch this again. And then a raise. It's like... A bit fast, but there is a wobble there. Which helps with the softening. And then a raise. And all these... But then... And then a raise. But then... This just seems a bit fast. And it's almost like you can... If you open up the fingers first. And you almost anticipate that move. And then... I did not that fan out. It just seems like... Wait! We suddenly go out. And it's... He almost wants to sell that more. Where he goes... Where he might raise the shoulders first. To anticipate. And then on this. He can drop them a bit. All these doors open up for you. Except... You get a promotion. And then a raise. And all these... But then... You get a promotion. And then a raise. And all these... And then this seems a bit... He goes... A raise. A raise. And then... So for me it's... We're going into this pose here. Body and headwise, right? We go to the screen right. And then a raise. And then... A... It's a bit sharp. Not sharp. It's just the angle. It's very flat. How we go up. Hold. And sell it to the left. And then the audio... A raise. And all... It's almost like a raise. And all... I feel like you want to anticipate... The next step. So he goes up. And then imagine he goes down a bit to the left. And then comes back up here. A raise. And all... It's a little bit of a... A little bit more rhythm. It doesn't have to be a crazy arc. And all these doors open up for you. Just a bit more. I love this here. I love the expression and that. It's great. And all these... We are a bit in the W pose. But... It hasn't been really twins. Covered enough. So that this is the first time. And all these doors open up. And it's okay. I'm always kind of like... Watch out for W poses. But it functions as in like... Ta-da! The doors open. And you do have a nice change of finger posing. There's a height offset. I think you're okay. A bit even. I would probably group one of the fingers there. For you. Except... They're not really doors. They're trap doors. That's the one where, again, the energy... They're trap doors. Is a bit much. And I hear it in the voice. They're trap doors. It's definitely big. But this is a... They're trap doors. You're like, I'm gonna stab you to death type of thing. I don't mind the sausage being... They're trap doors. More limp there. But... I would reduce that. Probably, so if we're up here... And we go down here for that arc... It might just be... You don't go this low. You only go this low. And maybe not that far. So the head is maybe a bit higher. The neck is a bit straighter. The head is a bit higher. Just to kind of reduce that intensity a tiny bit. They're trap doors. Even this expression... Trap doors. And then all of a sudden... I know. Again, subjective at this point. But... Trap door. It seems so much more intense. And there's so much more movement... Visually than I hear in the voice. Of course. And then all of a sudden... That's okay here. And then all of a sudden... Bam! And then all of a sudden... Bam! That one's okay. And I think that's what I mentioned before. Where you want to be careful to not lessen this. Now, it's definitely not lessen. Because it's such a broad expression. But this is already so intense. That by reducing this... Trap doors. And then all of a sudden... Bam! This is going to have more impact. But right now, all you're doing is... Up and down. Definitely with this end of cuts. The cut definitely helps. But this is... A stronger body change. Trap! With that stab. You know what I mean? Trap doors. And then all of a sudden... Bam! It just seems less eventful. But this is his moments to... To go full contrast. So that's my reason too. Just for lessening this a little bit. And then all of a sudden... Bam! So that we can give this a bit more breathing room. And then all of a sudden... Bam! And this is picky. And I might... I don't have a longer version there. This is for you to experiment. But I will probably cut... Three frames sooner. It seems ever so slightly late. Three or four frames sooner. Into this shot. And then this one. 20 years. It has so much more energy. And you can even hear it in the microphone. The levels are peeking out. 20 years. It's just... It's so loud that... 20 years. I would have a stronger... Something with the body forward. A bit of a shoulder shock maybe. But definitely head accents. And then all of a sudden... Bam! 20 years. Like to me it's like 20 years. Like you're rounding the shoulders forward and up. Like a caving in of the chest. Because there's so much energy there. 20 years. 20 years. Has zipped by. And you're thinking... Is this all I have to my life? Look at that face. I love the folds here. Not you kids. That's fine. Oh, I remember you with the camera. Not you kids. That's lessons. Yeah, I like this. Not you kids. Might be still a bit low here. Not you kids. Yeah, it's tricky. You would have to... Pan down... A tilt down. Pan over and tilt down more. But then we don't have so far. Then we're back. To where we were. I think... Not you. I know that that was the note last time too. But I think you can afford to go from here. And only this far. Not this low. Reduce the height. It's not crazy. But just... We're initiating such a move over there. And we're ending here. Which you might argue that's good. Because now we're looking at the kids. But we don't want to lose the focus on him. So I think you... You could be okay. 20 years has zipped. Like imagine he goes... Bam! 20 years without forward cave. So that the head ends up in here. And then zipped by so that he's still around here. Is this all I have to my life? And into my life he might even go a bit further to the left. So now he might be a bit here. Right? And then as he goes back. He can even shoot back a little bit more. My point is that if you do all this. And you lessen the amount. He goes to the right. And down. His head might end up being... You know, he might end up being only here. And then if you have that. We're pretty good in terms of... Oh, we can still look over here. Not you kids. This arm stops a bit too abruptly. It's mechanics wise. It feels like we're going... And it's a bit too... I know he's kind of tense of... Not you guys. Not you kids. I love you kids. But I would either overshoot a little bit. Or ease into that a bit more. Not you kids. I love you kids. Come on. This is definitely too fast. Don't hear that in the voice at all. That's probably the most distracting one. Not you kids. I love you kids. Come on. The house. It's crap. And by slowing it down. It's also going to help you with the camera. It feels completely out of place. There's no connection there with the audio. Not the house. It's crap. And then this one. Come on. The house. It's crap. It's crap. But come on. The house. It's crap. It seems too little in terms of just raising him and bringing that head up. It's crap. Not you kids. I love you kids. But come on. The house. It's crap. It's almost like you want to go up and down again. It's crap. It's crap. Or you go up with a bit of a left right shimmy. It's crap. It just seems a bit simple. Compared to what the voice is doing. Again, the energy and body mechanics don't quite match. Subjectively of course as always. It's crap. And then careful here. Maybe that's the thumb having a bit of a tangent with that forearm line. You have to. And it's fine. It was that runs you the critique. I just gave someone else where he says. I love you kids. But come on. The house. It's crap. Like that's a statement. He's like cool. Come on. This is it's a crappy house. Look at this. Arm out. Hands out. It's almost apologetic. So like. He's a bit stern here. So it's not like a full apology, but this feels more defensive to me versus someone. It goes guys. Come on. This is a crappy house where he would. He would almost lean in. Not that far. But it's like guys. Come on. It's crap. Not that you want to do like arms down. It's crap. But it's to me. This seems more apologetic. Like I said, and it would be more of a statement where I would lean in forward and you can maybe have that arm down. Now that's not a fist, but something a bit stronger where he is, he is convinced of his statement. And he thinks he's right in his world. And that's kind of that. Alrighty. Thank you. All right. There's an email. You can sign up. You can start whenever you want. 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