 All right, new version here. Let's play this I'll tell you boys life is crazy One day you're in community college driving a Camaro teetop 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 on the house. It's crap All right, nice cool I'll tell you boys. I like that you have that incorporated This year to have that and I think that works pretty well the initial Reaction was that it's almost a bit. I wonder if there's too much going on in terms of we having that flip Plus that arm out Plus him leaning over and looking away If that makes sense versus keeping it Where he's like this and I would I would start with this up like this and the sausage like that just for clean silhouette It's a bit. It's bit muddy there So instead of having all of this just you know It's just this is already an event and I wonder if this is too much with all of this going on And if you just keep it like this, like he looks at this He spins it and you can always have him start looking over this way by around here in terms of when this falls like he's done this before he doesn't have to really completely wait and And see that it's dropping so he can hold on to it like he's that good And then that way You still have time to look over and end up in a post like this And then do all that. I think that would work Careful in terms of motion across the cut This is a really big move and then we cut into It it being still and then it continues and not as much so I would make that consistent I would actually have slightly less movement here and then start maybe a bit further to the left with a bit more movement And slowing down into that tonight silhouette, and I love this here And it works great with the audio Here for this one Cock in the walk my question what he says here, but on this it's it's such a Or I would have a little bit of a head-up accents slightly more energy in the head and maybe through here Because of what he says and then throughout there's some really big moves with the stick that I would reduce a bit With this I would probably just go maybe half or two-thirds of how far you go and it's a bit more archy Just because this is a big move and like a like a stronger contrast movement and more energy and I'm concerned that this move here and the move with the head. They're competing for attention Right suddenly. I'm looking here looking here, and I'm falling down and I'm kind of missing this and I'm suddenly not looking at his face anymore So I think by reducing this we can keep the focus acting wise on this You think it's only temporary, but then I think that's great. This is a bit fast But then also was in his voice is more like but then and in your energy is but then like it's it's just there's more Physical movement that's not reflected in the voice, but I think just just timing wise. It's also really fast and then that way It doesn't upstage this one. So personally I would slow this down a lot I know it's tricky because you're going from here and you got to end up here for clean silhouette But you could have it lower so the stick is maybe You know down here or even here in front of the body as a silhouette So that you can still have a move like this Even this here I would slow down by two three frames. Just that That moment there That's really great. And I love this too how especially the contrast of this and then we almost missed the change It's almost like a wipe that reveals this emotion kind of like that But the thing is I like this a lot It's almost a bomber in terms of how low he is and how far and how much extra space we have Where I wonder trap doors if it's something that can be Maybe you stage the camera so that he is just a bit like the head is here body over here Sorry, I don't have it's a different set of my mouse instead of my pen Not that my scribbles are better with the pen but messy but something where it's maybe a bit cleaner in terms of not being so Screen right low heavy. You know me like we're we're here. We're so much extra space Or you might have to get just a bit lower, but it could also be a later camera fix potentially although I wouldn't really tilt down too much, but my main point was that I Like this a lot as a contrast and this is why I would slow down moments like This because it's almost the same amount of energy As here and and I think this is a great contrast moment that I would not upstage with previous movements that are almost as big This is again a fast A to move two at the same time to me at least we're Slightly back into a doubly pose, but they both move at the same time and they're really fast I would have four more frames for five frames to this Because then you have this again, and this is your big contrast moment So I would not upstage this with a big move like this You mean you take the intensity away with so much moving here from this This is okay I think it's late the cut the cut is late. Oh, are we cut around here? Yeah, it feels a bit late. It should be okay in terms of what you're doing. It's more than 30% change It's a fairly drastic punch in but I think I think we just work if just go cut sooner around here Careful animation wise watch out. It's I didn't notice before but now that I'm Framing through you can see how spacing wise this just locks after this And then we have like a pivot off of this top section here And then it goes down. So as you continue gonna work on your arcs 20 I would instead of oh not instead of but on top of left right I would add a bit more up down because 20 is pretty strong energy wise 20 years, so I would have a bit of a stronger move on 20 This is okay. I like this for sure how he's here and then he sees this that's very Organic in terms of the eyeliner and everything what I would not do is this this last tilt down is It's it's almost a linear key. It's pretty strong and you have what one two three four You don't want it's three frames. You don't want to use anything drastic within the last six or seven frames So I would actually just have him go down and even then You can even cut some stuff out to me. I will go here and Cut you just indicate a low movement and then we cut into this and it would totally match. It's totally fine and also reduce the The tilt down on this you mean it's a couple frames Because we won't have it here anyway So I will keep it here They'll be basically cut out around here leave that camera move cut the rest and then cut into this without tilt down I know watch out. He stops definitely abruptly here Everything's with linear BAM on that stop and the camera as well. So once you spline that out and smooth that out a bit more I'm not sure you need this It's almost like an accent in the camera to emphasize what he's saying and it seems a bit odd I was being personally I would take out that last tilt up here. Well, that's kind of that I mean, it's definitely super promising. I love all the facial animation on him. It's it's nicely pushed especially once we are in This range at the end I love stuff like that. That's great So I'm really not worried about your animation skills. I think this is mainly making sure the energy levels are consistent We're not trampling on some specific moments and kind of reworking some Camera stuff and some post stuff, but yeah, it's very cool. I like it. That's it for me. 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